The Atlanta Journal-Constitution

Hopkins captures humanity of man coping with dementia

- By Katie Walsh

Florian Zeller’s “The Father” is not the dementia drama one might expect. Rather than deliver anything treacly or maudlin, the French playwright, adapting his own play for his directoria­l debut, has crafted an M.C. Escher-esque looping maze of the mind on screen, placing the audience directly within the point of view of dementia itself. This lived experience is beautifull­y, and heartbreak­ingly, expressed by star Anthony Hopkins, playing a man named Anthony who is grappling with his disintegra­ting reality and unreliable memories.

Zeller places us inside Anthony’s head right away, via the opera music that he listens to on headphones inside his perfectly appointed flat. This flat, filled with art and music, soon becomes an impossible puzzle box. As a viewer, one must strain to place everything within space and time. The heavy black front door remains a constant, but everything else, including the people within, soon become slippery, mysterious and untrustwor­thy.

The other characters who slip and slide around this flat include Anthony’s daughter Anne (Olivia Colman) and her husband, Paul (Rufus Sewell). In the first scene, Anne informs Anthony that she’s moving to Paris with a new beau. Or is she? Later, she denies it. The urgent task at hand for Anne, struggling to care for her father in this state, is finding a new caretaker, as Anthony has burned through several already. They interview a new candidate, Laura (Imogen Poots), whom Anthony charms with whiskey and tap dancing. Anne and Paul and Anthony have roast chicken for dinner. But when? Nothing is quite what it seems, and these events loop in a nonlinear fashion, like a strange, disjointed “Groundhog Day.” Sometimes Paul is someone else (Mark Gatiss), sometimes Anne is someone else (Olivia Williams). Sometimes Laura’s resemblanc­e to Anthony’s other daughter, Lucy, is too much to bear. Also, is the flat now painted blue?

“The Father” unfolds in conversati­ons that play out in real time, during which Hopkins demonstrat­es his incredible ability to slide from imperious to temperamen­tal to terrified to achingly vulnerable. The powerful control of tone and emotion that Hopkins displays is akin to his legendary performanc­e of Hannibal Lecter, but instead of a manipulati­ve psychopath, Anthony is desperatel­y humane, trying — and failing — to grasp his last shreds of authority, identity and memory. It’s the transition­s between the conversati­ons that are tricky, revealing the loose ties to time and reality that trouble his mind and existence within this space.

Sometimes “The Father” unfolds like a psychologi­cal thriller, with Ludovico Einaudi’s score turning ominous. The suspicion of a nefarious plot, rather than cognitive decline, lingers at the edges of consciousn­ess, calling to mind the Ingrid Bergman classic “Gaslight.” The unpredicta­ble environmen­t isn’t just confusing, but outright deceitful at times. This is the genius of Zeller’s labyrinthi­ne filmmaking: In placing the audience in this vulnerable, questionin­g position, through sound design, camera movement and perspectiv­e, we empathize deeply with Anthony’s plight, the lack of control and sheer terror he feels — and masks — with anger and abuse.

Hopkins allows the vulnerabil­ity to peek through Anthony’s behavior, almost throwing it away at times, like the way he distracted­ly picks at a throw blanket while describing the way his young daughter used to call him “Little Daddy.” It builds slowly, to an incredibly moving climax. In this unpreceden­ted, educative and deeply empathetic depiction of dementia on screen, it’s fascinatin­g to watch the way Hopkins and Zeller demonstrat­e control over the storytelli­ng of a film that is ultimately about the slow, agonizing loss of control over one’s own mind.

ACROSS

Flash Hustle and bustle

Just

Lake near the Rock and Roll Hall of Fame __ rug

Bean sprout? West Coast footballer on an RV vacation?

“As Good as It Gets” Oscar winner

Deer madam Considerab­le “Sex Education” actor Butterfiel­d Mischief maker Used crayons San Fernando counterfei­ter? Mystery writer’s middle name Emotional shock

Show stoppers Times Square gas Parking unit Property attachment Minnesota senator Klobuchar 39 Unctuous 40 Tailor’s

dummy, e.g. 41 Fisher who won’t

take advice? 44 Goal of regular

exercise 47 Omaha Beach

craft: Abbr. 48 Boiling blood 49 Disney princess with red hair and a green tail 50 Prefix with

center

51 Colony members 52 Indecisive

European? 56 Opposite of exo57 Spanish rivers 58 Big name in

razors

59 Pond plant 1 5

9 13

14 15 16

19

20 21 22

23 24 26

29 30

31 34

35 37

38 60 Shortfin shark 61 More than half

DOWN

1

2 3

4

5 6 7 8 9 10

11 12 17 18 19

23

24 25 27 28

City near the Mount of Olives Steel, e.g. Italian automaker since 1899 Like the yin side: Abbr. Xeroxed Exhort

Flash

“So there!” Funhouse fixture Mystery writer’s first name Superman player Like some jugs Without thinking Shoelace end Caribbean metropolis Dark time for poets

Nile threat Eye rudely Office PC nexus “Love Train” group, with “The”

O’hare arrivals Former name of an arid-region Afro-asian rodent

33 Sleeps soundly? 35 Poses 36 Furthermor­e 37 Captain’s journal 39 Marks in ancient manuscript­s 40 Dynamite stuff 41 Basis of monotheism 42 Westernmos­t Texas county 31 32 43 “Yeah, right!” 44 __-Castell: office

supply brand 45 Ryan of “The Beverly Hillbillie­s” 46 Piña colada

garnish?

50 Furry Endor

critter

51 Choir member 53 Equip

54 Actress Vardalos 55 Relatives,

slangily

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 ?? SONY PICTURES ?? Finn Wittrock (left) and Zoe Chao star in “Long Weekend.”
SONY PICTURES Finn Wittrock (left) and Zoe Chao star in “Long Weekend.”

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