Financial Mail

CINEMA Desperate measures

Crusty old man, struggling single mom, feisty kid . . . it could go either way

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cash to his Russian hooker (Watts), who visits his decaying, filthy home to service him. Women may not laugh at this portrait.

At first, we know very little about Vincent, as Murray is named. That he is nasty and isolated is demonstrat­ed in flashes of serious ugliness. Murray can fall about a room with the best of farcical protagonis­ts, but here it’s repellent.

Lieberher’s mother (a trimmed-down McCarthy, herself attaining moments when she escapes her traditiona­l role as an object of unwieldy mirth) is compelled to ask Vincent for help when she has to work late.

Her desperatio­n, fighting for custody of the boy in a vicious divorce, fuels her considerab­le, and neglected, skills in the part. By turning to the Murray figure, she’s unaware at first that her child will be taken to Vincent’s barroom haunts, strip clubs, drug deals and the racetrack — and also absorb at least some of his misanthrop­ic violence. Yet in turn Vincent’s motives — his Vietnam record, dying wife, secretive generosity and bitter blows of fate — are slowly revealed and he becomes the (ironically intended) “saint” of the title.

The film is sporadical­ly very funny. When Lieberher enrols at a new, Catholic school and is asked by his worldly-wise Bill Murray and Jaeden Lieberher Babysittin­g with a difference teacher (O’Dowd) about his religion, he responds: “I think I’m Jewish.” This becomes a bullying catchphras­e at the school until Vincent teaches him how to fistfight and he earns his schoolyard stripes in spectacula­r fashion. There is no particular moral in this sequence. The cast has been assembled to show evidence of city grit in their harried features.

What some critics have objected to in St Vincent is its sentimenta­lity. The Guardian review referred to it as “slush”, which unavoidabl­y applies to the various contrivanc­es that flow into the falsely happy climax. Of the situation-comedy basis of those final scenes, the old-young tussle is primary. We have perhaps seen too many

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