Extremely Loud and Incredibly Close | Film reviews, news & interviews
Extremely Loud and Incredibly Close
Oscar-nominated adaptation of Jonathan Safran Foer's novel is lacking in magic
Novelist Jonathan Safran Foer once described his approach to the writing process as “trying to stop making sense, and create something that just has an effect”. It’s an intention that’s easy to track in his sophomore novel Extremely Loud and Incredibly Close, which uses an idiosyncratic mix of prose, pictures and blank pages to spin its two narrative strands.
The first of these, following a nine-year-old boy grieving his father’s death in the 9/11 attacks, is intact here while the second is all but entirely excised. The course from stage to screen seldom did run smooth and cuts are inevitable, but this adaptation from director Stephen Daldry (The Reader, The Hours) is closer to an evisceration, stripping out everything that made Foer’s story wrenching and unique with nothing of value to offer in its place.
A precocious, skittish “amateur inventor”, beset with fears of the everyday, tormented both by his grief and by a related secret he’s keeping, Oskar (Thomas Horn, pictured right) is the opposite of an everyman, an extraordinary child in extraordinary circumstances. His discovery of a key in his late father’s (Tom Hanks) wardrobe sets him on a journey through New York City’s five boroughs, systematically interviewing everybody named Black – the name written on the key’s enclosing envelope – in the hope one of them can offer him some answers and the chance to feel close to his father again.
Much of what made Foer’s Oskar heartbreaking was the unfailingly matter-of-factness with which he presented his experiences. Whether describing an imaginary invention or a moment of unthinkable sadness, his prose was determinedly undemonstrative, which gave his rare moments of revelation all the more impact. Scriptwriter Eric Roth (The Curious Case of Benjamin Button) has translated many of Oskar’s offbeat musings wholesale into voiceover, but their breathy, over enunciated delivery here announces them from the outset as Emotionally Significant and therefore, inescapably, prevents them from actually being so.
Voiceover aside, there’s no getting around the uncomfortable fact that Horn’s performance is one of the film’s biggest problems. Comparisons to Hugo – another Best Picture nominee centred on an isolated young boy’s efforts to discover the secret behind a mysterious key belonging to his recently deceased father – are inevitable, and next to Asa Butterfield’s emotionally nuanced turn Horn comes up decidedly short.
It seems profoundly unfair to blame a child with no prior acting experience for failing to deliver, and thankfully in this case the blame can be apportioned equally to Daldry and Roth. They force Horn to play an Oskar who’s less an endearing, engaging protagonist than a nonsensical collection of tics, vacillating wildly from laconic edginess to hysterical shrieking fits (again, quite antithetical to Foer’s stoical creation) with little logic, with the question of Asperger’s referenced but never explored.
You’d think that if there’s one thing Hanks (pictured above) should be able to do, it’s play an affable, good-time-guy sort of dad. But he goes for a weirdly mannered, distancing turn that borders so much on clownish that the father-son dynamic (established via flashbacks) is tough to invest in. Sandra Bullock fares much better as Oskar’s mother, and in fact her final phone call with Hanks is one of the film’s few standout scenes, calculated though its impact feels.
Share this article
We at The Arts Desk hope that you have been enjoying our coverage of the arts. If you like what you’re reading, do please consider making a donation. A contribution from you will help us to continue providing the high-quality arts writing that won us the Best Specialist Journalism Website award at the 2012 Online Media Awards. To make a one-off contribution click Donate or to set up a regular standing order click Subscribe.
With thanks and best wishes from all at The Arts Desk
Latest in today
Early Ayckbourn play fizzes anew 46 years on
Guillem weaves her game-changing magic in Forsythe and Ek
London Wonderground's erotic circus bumps and grinds
Mouthy London trio's debut is loaded with enjoyable bawdiness and atti...
The pioneer of continuous music astonishes while Bon Iver’s preferred artis...
Her obsession with death and decay was leavened by a wicked sense of humour
On the eve of a new exhibition of his kinetic saints, the artist talks abou...
The brooding private detective is back
Comedy is king in a Falstaff revival which is consistently enjoyable but co...
The welcome return of the legacy of photographer Erwin Blumenfeld