Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close (2011): United States – directed by Stephen Daldry

Rated PG-13 by the MPAA – contains mature themes, some language

The story of Extremely Loud and Incredibly Close could fall into any number of traps. Shameless exploitation, melodramatic tripe, perhaps. It avoids many of these pratfalls, but only has a handful of great moments. The story will tug at the heartstrings for many, and perhaps infuriate just as many others, who will likely charge it with being overly manipulative. In truth, the film probably lies somewhere in between.

Oskar Schell (Thomas Horn) is a young boy who lives in New York. It is clear from the outset that his father has died in the September 11 terrorist attacks, but the exact circumstances only become clear as the intertwining story threads play out. Oskar is a special boy, very sharp in some areas but with bouts of anxiety,and irrational aversions to certain noises and circumstances. He claims that he was tested for Aspberger’s, but that the results were unclear. While his dad, Thomas (Tom Hanks) was alive, they played all manner of games together. Most frequently, though, his father would send Oskar on searches. He told stories of the “Sixth Borough,” which disappeared at some point in history.

Oskar is enthralled by the searches, and always caught up in what he is supposed to find. He does not quite understand that it’s the search that matters, and how his father uses the searches to strengthen and prepare Oskar for a life ahead. After “the worst day,” Oskar stumbles upon a key that was left in a blue vase. Believing it to be one last scavenger hunt, he sets about looking for the lock to fit the key. His hope is that he will be able to remain as close to his father as possible, for as long as possible, though he knows that his memories are fading.

And searching so desperately for an object that might not exist also leads to tension with his mother, Linda (Sandra Bullock), and they grow further apart. Linda must be dealing with her own awful grief, but knows she must help Oskar as best she can. On his searches Oskar also stumbles upon a variety of other people, including doorman Stan (John Goodman), troubled Abby Black (Viola Davis), and his grandmother’s Renter (Max von Sydow). Throughout his journey he meets a number of people, and learns a great deal about himself. This is, of course, the point; there is more, though, in the form of a late twist. Some may find the twist emotionally manipulative, but I felt it was appropriate and touching.

Some of the performances are strong, with perhaps the most attention being given to Horn. Found as a teen champion on Jeopardy, this collaboration with producer Scott Rudin and Stephen Daldry is his first attempt at acting. Most of the time he is earnestly effective, and it becomes difficult to discern when (or if) his overacting is not just a part of his character’s normal behavior. Hanks is genuine and sweet in his short role, and Bullock also does a very nice job. Max von Sydow might give Christopher Plummer in Beginners [review here] a run for his money in the Best Supporting Actor category. While von Sydow’s role is smaller, it is fresher in voters’ minds, and also entirely wordless and very effective.

The filmmaking is adequate. The audience is treated to standard shots of New York. Some of the material is heart-wrenching, as one might expect. It seems to generally tread the fine line between exploitation and exposition quite skillfully. Much of the story is dependent on the characters, and a lot of time is spent with Oskar. The film ends up running on a bit long; some decisive trimming in the edit bay might have necessarily shaved a few subplots, but would have also led to a more concise, effective narrative.

Extremely Loud and Incredibly Close is not a bad film. In fact, it is often a very good film. For some it will be gratingly awful, though I don’t share that viewpoint. Others may find it cathartic, genuine and one of the most moving films of the year. I would not share that viewpoint, either. Rather, it lies somewhere in between: a good film with some strong performances, some interesting themes, and nicely packaged together.