Movie Review: ‘Restless’

Restless” is a wonderful, sweet, playful, sad tale of young love, death, ghosts, and transformation. Hovering over all, are questions of the afterlife.
Movie Review: ‘Restless’
Mark Jackson
9/15/2011
Updated:
10/1/2015


<a><img src="https://www.theepochtimes.com/assets/uploads/2015/09/web2restless.jpg" alt="Mia Wasikowska as Annabel and Henry Hopper as Enoch in 'Restless,' a quirky, slow-paced drama directed by Gus Van Sant. (Scott Green/Sony Pictures Classics )" title="Mia Wasikowska as Annabel and Henry Hopper as Enoch in 'Restless,' a quirky, slow-paced drama directed by Gus Van Sant. (Scott Green/Sony Pictures Classics )" width="575" class="size-medium wp-image-1797698"/></a>
Mia Wasikowska as Annabel and Henry Hopper as Enoch in 'Restless,' a quirky, slow-paced drama directed by Gus Van Sant. (Scott Green/Sony Pictures Classics )

Restless is a wonderful, sweet, playful, sad tale of young love, death, ghosts, and transformation. Hovering over all, are questions of the afterlife. The message of this film is—by having the courage to commit to the “present” and say what one means, the “after” becomes irrelevant. It’s a cliché by now, but that’s the reason “present” and “gift” are synonymous.

Enoch Brae (played by Henry Hopper, making his acting debut and looking hauntingly like real-life father Dennis) is an eccentric youth, saddled with the morbid proclivity of gate-crashing other folks’ funerals. Enoch’s parents died in a violent car crash, which has caused him to come a little unglued, seeking answers in the faces of strange corpses.

Enoch died as well, clinically, for a short while, in the crash. He maintains later, in a distraught moment, that there was nothing, and that there IS nothing, in the afterlife.

However, he fails to enlighten to the glaring fact that it was only after he was dead for a few minutes that he started seeing and communicating with his best friend—the ghost of a Japanese kamikaze pilot named “Hiroshi” (Ryo Kase)—and thereby not seeing the forest for the trees, in terms of the existence of an afterlife.

Enoch’s furtive funeral-focus is eventually busted by an observant, likeminded young woman who ignores his rebuffs and wins his trust. It turns out that the curious, nature-loving Annabel (played by the latest Australian acting-force-to-be-reckoned-with, Mia Wasikowska) is dying.

Knowing her broken wing is beyond fixing, Enoch is drawn to accompany her on her final journey, and on that journey they fall in love. They are a special couple—two little oddball birds of a feather.

The costuming was inspired, dressing them with touches of vintage 1920s and 1930s fashion, reflecting a shared wisdom, beyond their years, gained through painful early losses.
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There are notes of “The Bucket List” (naturally) and “Harold and Maude” here, as well as Ferris Bueller’s endless curiosity about life and the need to look under every stone, with humor. They take the time to memorize the names of water birds and bugs, write and rehearse death scenes, and so on.

One immediately senses a young woman’s touch on this film, a la Sofia Coppola. That’s probably because it’s the producing debut of actress Bryce Dallas Howard, guided by her superstar “triple-threat” father, Ron.

A film camera can read your mind. One of the magical things about cinema is that it lets you witness actors thinking actual thoughts. To enhance this magic, director Gus Van Sant shoots practically a second film’s worth of footage of his actors doing silent takes. Without words, the body and face have to express more. This is the hidden depth behind Restless —every so often, one sees a whole inner dialogue move across an actor’s face like ripples on a pond.

As the film’s most poignant line states, “We have so little time to say any of the things we mean. We have so little time for any of it.”

Although the pace is sometimes a bit slow, Restless shows us two doomed young lovebirds appreciating the gift of each other, and taking the time to more fully express the things they mean. Van Sant’s silent takes are a further, perfect example of that.

[etRating value=“ 3.5”]

Mark Jackson is the chief film critic for The Epoch Times. In addition to the world’s number-one storytelling vehicle—film, he enjoys martial arts, weightlifting, Harley-Davidsons, vision questing, rock-climbing, qigong, oil painting, and human rights activism. Mark earned a bachelor's degree in philosophy from Williams College, followed by a classical theater training, and has 20 years’ experience as a New York professional actor, working in theater, commercials, and television daytime dramas. He recently narrated the Epoch Times audiobook “How the Specter of Communism is Ruling Our World,” which is available on iTunes and Audible. Mr. Jackson is a Rotten Tomatoes-approved film critic.
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