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| "The Disappearance of Eleanor Rigby" was originally split into "Him" and "Her" perspective cuts before being combined into "Them" to shorten the film's running time. |
The film has an interesting back-story. Its original release came at last year’s Toronto International Film Festival where it ran a total of 191 minutes split between two different parts titled “Him” and “Her.” The two parts tell the same story of a married couple reeling in the wake of extreme tragedy, but “Him” is shown through the eyes of Conor (James McAvoy) while “Her” is shown through those of his wife, Eleanor (Chastain). The project was widely well received as an ambitious look at the different perspectives involved in a marriage in crisis, but its bladder-challenging running time made the prospects of a wide release tough. As a result of this, a third cut of the film was prepared entitled “Them,” featuring both perspectives fused into a commercial friendly 123 minutes. “Him” and “Her” are set to be released in select theaters in October nonetheless, but “Them” is currently screening in theaters nationwide.
It remains to be seen whether the reduced “Them” cut has lost anything significant in the editing room (and some who have seen both cuts have voiced that it has indeed), but “Them” remains a thoroughly compelling piece of cinema that treads waters few romances do.
Though what happened to bring the couple to this point is unveiled slowly, ultimately, their different methods of coping with tragedy have caused them to grow apart. While McAvoy is steady as Conor, and while the “Them” cut spends about the same amount of time on both of the relationship’s perspectives, the film still feels very much like the Jessica Chastain show. She has been masterful as both meek and powerful women (“The Help’s” Celia and “Zero Dark Thirty’s” Maya, respectively) but this is Chastain’s first big shot at the middle ground. Sometimes strong, sometimes on the verge of breaking, Chastain covers the spectrum flawlessly and in the process, crafts a character that even in the shortened version of the film, seems whole despite admittedly not knowing herself.
In his first feature film, writer-director Ned Benson fearlessly tackles his subject matter. In other hands, the film might have become the standard romantic drama its trailer makes it out to be, but Benson is not afraid to go beyond that (even if he did ultimately have to bite the bullet and cut the film down). The camera often lingers on Conor and Eleanor much longer than one would expect. In those extra seconds, however, it manages to engage the characters on a much deeper level. The pace is at times slow to a fault and some audience members may indeed stir (which leads one to wonder if the extended cut of the film will feel like overkill), but in the end, it is all put to great emotional effect.
Along the way, the film also gets some heartfelt supporting work from the likes of Viola Davis, William Hurt and Isabelle Huppert. The score, moody and melodic, features new (and currently unreleased) tracks by post-rock and alternative hip hop artist Son Lux. Christopher Blauvelt’s cinematography is, above all else, understated. Often, we simply follow the character, seeing what they see as it passes them by, yet the film always maintains a soft beauty similar to that established in last year’s “Her” by cinematographer Hoyte Van Hoytema. All of these intangibles come together exquisitely in the film’s entrancing finale.
“The Disappearance of Eleanor Rigby: Them” is one of this year’s pleasant cinematic surprises. What could easily turn out done-to-death in the hands of a first-time director instead serves as an introduction to a talented new helmer to watch, a reaffirmation of a top actress and a fresh addition to the romance genre. (Grade: B+)
