‘Our Souls’:
Review Don’t miss it!
Robert Redford and Jane Fonda in ‘Our Souls at Night’.
Some of the novel’s moments have been quietly softened for film purposes, but the essence of the project remains very much the same, as do the characters of Louis Waters and Addie Moore.
It’s Redford’s widower Louis we meet first, as the actor, especially effective in one of his quietest roles, shows us an undemonstrative man, a plaid shirt and jeans kind of guy, who is not especially happy to hear a knock on his front door one night.
It is of course Addie, a widow who has lived a block away on Cedar for decades, and a woman who was good friends with Louis’ late wife. She seems nervous, and, as it turns out, not without reason. “I want to suggest something to you, a proposal of sorts,” she says, Fonda nailing the awkwardness. “Would you be interested in coming over and sleeping with me?”
Addie is not, she rushes to assure an astonished Louis, suggesting sex. It’s talk and companionship she is after, a way to get through the ever-longer nights.
Louis is, of course, stunned by the suggestion, and asks for time to think it over. The next day he makes one of his regular stops, a breakfast get-together with a group of fellow codgers, an event that seems so dead-end that Louis calls Addie and says he will be coming over.
ANXIOUS DAYS
Come over he does, carrying his pyjamas and toothbrush in a brown paper bag and using the back door so as not to excite gossip. There’s a wonderful wariness about both Louis and Addie in this first scene at her house, as they wonder if this is indeed a good idea.
As one night extends to others, it is a real pleasure to experience this particular drama unfold. Addie
is out now on Netflix. and Louis in essence relive their lives to each other, talking about traumatic events such as deaths and affairs, and opening up to each other to an extent that surprises them both. “You can tell me anything,” Addie says, and that turns out to be the theme of their increasing closeness.
Once that closeness becomes public knowledge, additional dramas unfold, ranging from the reaction of the townspeople to that of Louis’ daughter Holly (Judy Greer) and, more critically, Addie’s son, Gene.
Strongly played by Matthias Schoenaerts, convincingly hostile as always, Gene is having troubles in his own marriage, so much so that he leaves his seven-year-old son, Jamie (Iain Armitage), with Addie for an extended period.
It’s a tribute to how dexterously Our Souls explores all aspects of this relationship that some of the film’s best moments don’t depend on dialogue.
Made with care and conviction as it explores this unexpected relationship, Our Souls at Night understands both what changes in people as they age and what remains the same.