Factual portrait of Brian Wilson, ‘Love & Mercy’

BY

Ron and Leigh Martel
Movie Reviewers, The Friday Flyer

For those who love the Beach Boys (and who doesn’t?), “Love & Mercy” is a must-see. This exceptionally well-crafted biopic presents the darker side of all that fun, fun, fun. No matter how much you think you know about the troubled life of singer-songwriter Brian Wilson, this story fills the gaps and helps us appreciate what went on under the dome.

New director Bill Pohlad, better known as producer of such features as “12 Years a Slave,” chooses two very different actors to play Brian at different stages in his life. The story continuously toggles between the mid-60s and late ’80s with budding star Paul Dano as Brian “past” and veteran actor John Cusack as Brian “future.”

Bearing a strong resemblance to the younger Wilson, Dano offers his most engrossing and sensitive performance to date. Meanwhile, Cusack relies less on a physical resemblance, but effectively portrays the sensitivity and anxiety of this sympathetic figure. Rather than coordinate their performances, Pohlad specifically asked each to offer his own approach and interpretation for their respective periods of time.

In this manner Pohlad effectively captures the spirit of the music, while the actors effectively portray the life of this uniquely complex icon. The story opens with the Beach Boys celebrating sun, surf and romance, but moves quickly to Brian’s introduction to car dealer, Melinda Ledbetter (Elizabeth Banks), who will become his second (current) wife.

As most know, brothers Brian, Carl and Dennis Wilson were taught and ruled with an iron fist by their ruthless father Murray (Bill Camp). Cousin Mike Love and Hawthorne neighbor Al Jardine rounded out the group. As Brian was clearly the most talented, maybe Murray felt musically threatened, so he was toughest on this son. As Brian was also the most vulnerable, Murray seems to pile on with a perverted sense of gratification.

Brian is driven by an overwhelming need for validation from dear old dad (which would never come) and an endless competition from the Beatles (which would never end). His infamous three-year life interruption is not depicted, but referenced to introduce the dictatorial reign of Dr. Eugene Landy (Paul Giamatti), also known as Dr. Feelgood.

This is a music story, love story and story of survival. Brian struggles with mental illness, fighting demons – real and imagined. God only knows this genius had been physically and emotionally abused his entire life. Although Landy saves Brian from himself, it’s Melinda who saves Brian from Landy. Their story is sad and soulful, yet uplifting.

The word “genius” is overused, but Brian was the creative soul of this musical and cultural phenomenon. Dano gives us a sampling of the genius at work. Filmed in the same studio the Beach Boys recorded, we witness Brian frantically, yet methodically, directing “The Wrecking Crew” (their excellent documentary now available on DVD). Brian can’t seem to get the innovative arrangements out of head fast enough.

Dano, who gained 35 pounds for the role, reportedly improvises the studio scenes. He uses some direct quotes from Brian’s original session tapes, including, “You think we can get a horse in here?” Dano lip-syncs original studio tracks, but then capably sings several of the solos himself. The musical soundtrack is remarkable, but coming from such a damaged and bewildered man, eventually even the happy songs are sad.

“Love & Mercy” is two hours and rated PG-13 for themes, drugs and language. Parts of Wilson’s life were so outlandish, the filmmakers considered making it more “believable.” Instead, they chose to tell it like it is. Brian believed the film was “very factual.” Watching Giamatti portray Dr. Landy so realistically, Brian was admittedly “absolutely in fear.”

This is an engrossing portrait of the person inside the legend. The Four Freshmen (“Shangri-La”) inspired Brian, and eventually Paul McCartney labeled “God Only Knows” the greatest song ever written. There is a monument next to the Century Freeway, where the Wilson home used to be. Maybe it should have read, “His art emerged from madness.”

Ron’s Rating: A-   Leigh’s Rating: C+