James McAvoy and Jessica Chastain star in
The Disappearance of Eleanor Rigby, which is actually three separate films that tell the story of a married couples' strained relationship from different points of view. Chastain, who recently starred in
Intersteller, is a talented actress who is quickly becoming a household name. I first saw her in
The Help, where she played the charismatic and tolerant Celia Foote and more recently, one of my husband's favorite movies,
Zero Dark Thirty. McAvoy, mostly known in America for his role as the young Charles Xavier in
X-Men: First Class and the like, is continually underrated, mostly performing in British films. It is exciting to see him in a story like this, one that pushes him into the American spotlight.
From reading other reviews about this project, there is no particular order that is recommended, but one suggested to start with
The Disappearance of Eleanor Rigby: Him because
Her is much more melancholy. I found this to be helpful since it sort of eased me into the story and prepared me for the especially emotional
Her.
Him is told from the perspective of McAvoy's character, Conor. The story picks up six months after Conor and his wife, Eleanor, lose their infant son. Conor runs a restaurant that is on its last leg while Eleanor tries desperately to cope with their loss. She battles depression, and after an attempt at suicide, she disappears from Conor's life, leaving him alone to cope with her absence, as well as the loss of their son. During this time, he has to make decisions about his failing business, repair the relationship with his dad and his best friend, as well as, finally weed through his son's belongings. As sad as this seems, it actually forces him to deal with his feelings and put the pieces of his disheveled life back together.
The Disappearance of Eleanor Rigby: Her follows Eleanor during her break from Conor. It begins as she attempts to end her life and follows her as she tries to put her it back together. During this time, she stays with her parents, sister, and young nephew while attending NYU, where she takes classes just to "take classes," cuts her hair, and becomes free-spirit. One of the classes Eleanor takes is a psychology class, focusing on identity. Her professor,
HTGAWM's Viola Davis, becomes her trusted confidant. She attempts to rebuild her life while trying to distance herself from Conor. Just like Conor, Eleanor needs the time to gather the shattered pieces of her former self and try to put them back as best as possible.
There is a third version,
The Disappearance of Eleanor Rigby: Them, which, from what I read, is pieces of the two films cut together. I didn't feel that I needed to watch it, although I may at some point. I will amend this if I get around to watching it.
Overall, the two movies are well done and easy to get into and the story is beautiful and sad at the same time. There is no "rulebook" for dealing with the loss of a child. This is an example of how one couple dealt with tragedy. It wouldn't be fair for me to say what I would do since I don't have children, and thusly have not lost any of them. But that's a conversation for another day. 7/10
Foxcatcher was a proving ground
for Mark Ruffalo as well, and he was sensational as Mark
Schultz’ older brother, Dave. I have never been disappointed watching him on
screen since he easily morphs into each character. For instance, Thanks
for Sharing
is a story which follows a group of recovering sex addicts as they struggle
with daily battles against the disease. Mark Ruffalo’s character was one of the
recovering addicts; he looked hard, like he had been through the
ringer, and he held his body conveying that same message. However, in The
Kids Are Alright, he was laid back, lackadaisical, and somewhat carefree.
And in Foxcatcher, his eyes are the only thing that give him away as himself. The best way to describe him is as a chameleon and the only way to
understand is to go on a Mark Ruffalo movie binge.
