★★ / ★★★★
Enoch (Henry Hopper), nicely dressed in a black suit to go with his solemn demeanor, took the city bus to attend a boy’s memorial service. But he didn’t know the deceased. We came to know that dropping in on strangers’ memorials was a hobby of his. Pixie-haired Annabel (Mia Wasikowska) noticed Enoch and approached him. She knew the boy who died from cancer because she claimed that she volunteered at the hospital. As they got to know each other over a few days, she revealed to him that she, in fact, did not work at the hospital. She had cancer and the doctor gave her about three months to live. Written by Jason Lew and directed by Gus Van Sant, “Restless” aimed to tell a story about two people who came to appreciate life a little bit more by being on the verge of death, but the pacing was so mired in syrupy slow motion that it didn’t get a chance to truly take off. Enoch and Annabel were interesting characters because of their curiosities. Due to his parents’ passing and being in a coma for days or weeks, he was drawn to the dead, or the concept of it anyway. Though he won’t admit to it, he exhibited fear and a little bit of rage when he got too close. His only friend was a ghost, a Japanese kamikaze named Hiroshi (Ryo Kase). They spent most their time playing Battleship and throwing rocks at trains. In some ways, his eccentricities were nicely handled. Because he was closed off, despite his Aunt Mabel (Jane Adams) reminding him that she was always available to talk, we could sympathize with his occasional fits of anger and frustration even though they were often misdirected. Annabel, on the other hand, loved life and everything it had to offer. She was particularly interested in Charles Darwin and ornithology. She always talked about a species of bird that thought it died every time it turned night. When morning came, it would sing songs because it was happy just to be alive. She saw herself in that bird. Though she tried to be positive, her illness limited what she could become. Watching her made me wonder how I would react if I was given news that I had a terminal disease and I only had a certain amount of time to live. I’m not so sure I’d take it as gracefully. I liked watching Annabel for her bravery even though she thought there was nothing especially courageous in facing illness. Unfortunately, when Enoch and Annabel were together, it was like being stuck in a stuffy room with a couple who just couldn’t help but give each other kisses after every other sentence. It was nauseating. There a shot in the film where Hiroshi stood from several feet away and had this look of disgust toward the couple. It wasn’t meant to be funny but I laughed because it was exactly how I felt. It was strange that the material was more romantic when the two protagonists were apart rather than when they were together. While I understood that they needed to love each other in order to realize, especially Enoch since he possibly had many years ahead of him, the value of self-love and loving others sans romantic way, we, as well as the characters, deserved so much better. We didn’t learn until much later on, what kind of cancer Annabel had, an example of the picture’s main problem: it consistently gave us skeletal information but reluctant to delve into the marrow. As a result, it felt as though “Restless” was simply going through the motions for much of its running time. What it needed was fire to grab us and keep us transfixed.
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