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November 18, 2014

Begin Again

by Franz Patrick


Begin Again (2014)
★ / ★★★★

John Carney’s “Begin Again” needs to go back to basics and simply tell its story straight without the unnecessary gimmicks such as flashbacks that comprise of about fifty percent of the first half and showcasing overproduced songs that are supposedly performed live. I found it exhausting because it tries so hard to be authentic but it comes across very superficial and often in the doldrums with respect to pacing and overall mood.

Gretta (Keira Knightley) is approached by Dan (Mark Ruffalo), a former head of a record company, after singing in front of an audience whose reaction is lukewarm at best. Dan sees potential in her; he thinks she just needs to change her image a bit so people will find it easier to relate to her and her music. But Gretta is not interested in being signed because she wishes to be recognized for her talent, not the image she is selling. Eventually, however, the two find a common ground and decide to make a record.

Knightley and Ruffalo share absolutely no chemistry. Over the course of the two characters working together, there is supposed to be a whiff of friendship and possible romance blossoming between them, but neither connect in such a way that we feel, deep down, they are kindred spirits. The scenes that do work somewhat are short exchanges where Gretta and Dan disagree and create friction. However, these are supposed to be “mature” people and so an argument ends just before the scene ends.

A subplot involving Dan’s wife (Catherine Keener) and daughter (Hailee Steinfeld) is a minefield of boredom. Keener’s character is written to be as dull as possible. Meanwhile, Steinfeld’s character is not given anything to do other than to look sort of moody and hormonal—a stereotypical movie teenager—while wearing skimpy clothing. Surely Keener could have signed up for a project that is equal to her talent. I was more disappointed, however, that Steinfeld chose this role because she is usually pretty good at selecting characters with substance to them.

I will not even begin to describe the contrivance of Adam Levine’s character who starts off as a humble artist and becomes a complete jerk—all within a span of a month. As with Ruffalo, Knightley shares no genuine connection with Levine and so when their characters are supposed to be bonding, sharing things with one another, or having fun, it appears completely disingenuous. To me, their relationship is one that exists only in the movies.

I did not enjoy the songs—with the exception of “A Step You Can’t Take Back,” the first track featured in the film. The rest of the soundtrack is nothing special, most of them sound exactly like other female singer-songwriters on MySpace trying to break into the music industry. Because of this, we are never on board that Gretta is truly an undiscovered diamond who should become the next big thing.

“Begin Again” is largely unfocused and quite depressing in spots—not because of the content but because the work should have been more alive, executed with a sense of urgency, capturing that excitement of introducing an artist that the world should know about. Instead, what we are given is sub-mediocrity packaged in a dull box with the writer-director’s name written on the tag.

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