Note: Getting this review in just before they announce Best Actress at the Oscars!
I was in the mood to be depressed, so I went head and watched Still Alice, a sobering drama about a renowned linguistics professor’s battle with early onset Alzheimer’s.
It’s a respectable take on the illness that doesn’t go the whole way in capturing the worst the disease, preferring to leave its titular character with her dignity in tact. In that sense, Still Alice isn’t as quite as heartbreaking as I braced myself for (I had the Kleenex ready and everything), though the film surprised me with its gripping depiction of Alice’s family members and the way each of them reacts to the devastating news.
Based on the novel of the same name by Lisa Genova, Still Alice begins with Dr Alice Howland (Julianne Moore) celebrating her 50th birthday. With a successful career, a loving husband and three fully grown children, there’s not much more she could ask for.
But of course, the signs of the illness soon begin to manifest, randomly, sporadically, and with varying degrees of seriousness. Co-sreenwriters and directors Richard Glatzer and Wash Westmoreland — along with Moore in perhaps the best performance of her stellar career — do a solid job of conveying the initial shock and confusion from the onset of the symptoms. From a forgotten word here or a misplaced item there and getting gradually shittier at Words with Friends (I enjoyed this especially), to getting lost in what should be a familiar place, the trio manage to capture the angst as well as the physical disorientation through the use of camera panning and blurred backgrounds.
Moore’s deteriorating appearance is also used to match her crumbling mind. In the beginning I remarked on how amazing she looks for a 50 year old (54 in real life), though as the film progressed she grew increasingly lined and disheveled — though let’s face it, still pretty good for a 5o-year-old Academic who squeezed out three children.
It was a clever idea to make the subject of the illness a top linguistics professor who appeared to have everything, allowing the contrast ensuing from her illness to be even more stark. It’s bad enough for ordinary people, but for someone for whom words and language are her pride and define who she is, the blow must be incomprehensible. I know some will whine about how lucky Alice is to have money and family support compared to others suffering the disease, though it’s not the movie’s fault that it can only focus on one story.
I knew Moore was in it and is a favourite for Best Actress at this year’s Oscars, but I had no idea there were so many big stars in it. Alec Baldwin delivers a controlled, layered performance as Alice’s husband John, a brilliant researcher in his own right who struggles to deal with not only his wife’s deteriorating mental capacity but also the impact on his own career. The way he deals with losing he woman he has loved for so long, especially her losing perhaps the biggest reason for his love — her sharp mind and fierce career ambitions — is truly heart wrenching in more ways than one.
Kristen Stewart, Kate Bosworth and Hunter Parrish (from Weeds) play Alice’s three children, each of whom reacts differently to the diagnosis. Stewart, who gets the meatiest role of the three, is especially good, displaying a tenderness and non-constipated demeanour I thought I would never see again after “The Saga”. But to her credit, she has proven that there is life after Twilight.
The main complaint I can make against the movie is that it plays out too conventionally, pretty much the way I anticipated a movie about Alzheimer’s to go. The film alludes to how bad things will eventually get, but spares us the pain of actually seeing it. Maintaining the dignity of sufferers and reminding us that she is “still Alice” no matter what, appears to be a priority. Some will applaud the sensitivity of the approach, while others will say it sanitises reality. Everyone will have an opinion on how it affects the film, though it is undeniable that it would could have been edgier had it dared to venture a little further from expectations.
And for all the great depiction of Alice’s family, the film did very little to look at how her relationship evolved with her friends. In fact, I don’t even remember her having any friends at all.
It is not an easy movie to watch, and it’s hard to call it an enjoyable experience. If it’s superb performances and depressingly gripping drama you’re after, however, it’s hard to go past Still Alice. The script is perhaps too conventional for the film to be something truly special, but Moore’s performance elevates it far above what it would otherwise have been.
3.5 stars out of 5