“The people on TV, inside the TV, they’re watching TV”.
If you were to take a peek inside the blog article at the bottom of this introductory paragraph you’d see and read the pure adoration and love I have for director Lynne Ramsay’s first two films, Ratcatcher and Morvern Callar. If you skip on to the main feature, you’ll see I rather love this film too, as I do Lynne’s last directed film to date, 2017’s You Were Never Really Here starring Joaquin Phoenix. This incredible film currently resides in my “Must Re-Watch urgently” pile and thanks to the re-releasing of my rambling thoughts on Lynne’s third remarkable film in a row here, I plan to do just that. I recommend you do too, but only after reading my love-in appreciation of arguably Lynne Ramsay’s finest cinematic achievement to date.
Lynne Ramsay — For your Consideration
“Ratcatcher”, “Morvern Callar” and “We Need To Talk About Kevin”. Three gems I hold close to my heart. All lovingly…medium.com
“Do you know where you’re spending the afterlife?
Oh, yes, I do as a matter of fact. I’m going straight to hell, eternal damnation, the whole bit. Thank you for asking, OK?”.
Another part funded and supported film from the UK Film Council and National Lottery, this third film from Lynne Ramsay is based on the best selling original novel by Lionel Shriver and quite simply one of the best films of 2011, if not the 21st Century so far. With a screenplay adaptation from Ramsay and Rory Kinnear this film is simply a tour de force for 112 minutes. The film can be a difficult watch at times and even more so to comprehend as the weaving of twisted and intricate narratives never allow you to fully settle into the film, but this is certainly another challenging film from the Director and more importantly, an absolute triumph.
A truly unsettling and bizarre opening sequence sets the scene, quickly establishing the twisted narrative timeline and introduction of all main characters. “Eva Khatchadourian” (Tilda Swinton) is quickly seen reliving her memories through her dreams and nightmares, of her son “Kevin Khatchadourian” (played brilliantly as a younger Kevin by Jasper Newell and as an older teenager by Ezra Miller) and of her devoted and loving husband “Franklin” (John C Reilly on brilliant form as always). Another Ramsay film with a small overall cast, there are key cameo and supporting roles throughout, however the emphasis always falls to Tilda Swinton in particular who is utterly brilliant in every scene.
The opening seconds alone mix the timeline throughout as we as an audience walk towards an open set of French Windows whose blind is gently flowing on the breeze, the only audible sound appears to be an indistinct whirring noise in the distance. Is this now, the present day, or still a dream flashback? Cutting to Eva, now held aloft by a large crowd of people (shot from above — a Ramsay trademark) as she is daubed in a red current jus of some kind (red becomes a key theme of the film throughout as well), she is exultant, overjoyed, beaming and with a real tangible sense of being alive.
This is clearly a flashback as she awakens to stumble outside to see the majority of her house and car daubed in red paint. Quick cuts between a young child with an eye patch singing happily to herself to Eva, submerging her head in water to wake herself from her dreams, is brilliantly juxtaposed with our first sighting of teenage Kevin as the two faces seamlessly merge together. A key metaphor for the film is already established just a couple of minutes into this classic, of a mother’s love and never being able to shake thoughts of her children.
With a twisting narrative that often purposely disorientates the audience, flashbacks, overhead shots, unusually framed shots and brilliant use of slow motion sequences, the film is a flat out triumph for Director Ramsay. The obvious use of red as a dominant colour is clear, however what is not so clear, even with repeated viewings, are the tiny nuances and subtleties soaked within the many narrative strands. There are many segments of scenes with little or no audio, except perhaps something indistinct in the background and many scenes cleverly segue between present day and flashback and vice versa. The archery targets for pupils segment is utterly brilliant. To bring such towering performances from her actors is a wonderful credit to the Director as despite the at times difficult to watch scenes, you are so engaged with every character, accepting of their frailties and faults.
“Eva” (Tilda Swinton). Concentrating mainly on the “present day” scenes so as not to hint at possible spoilers, Tilda Swinton is again on Oscar worthy form, and so criminally overlooked. Seeking redemption and to make sense of the world that surrounds her, Swinton is mesmerising in every scene. She gives absolutely everything in every scene you can’t help but “pull” for her as she deals with a rapidly changing life and the crushing impact her relationships have on her. Told to “rot in hell you fucking bitch” very early on, crashing against an early happy episode in the film sets the tone, as do the lonely walks amongst dancing ballerinas and silent “staring” conversations with her son. Her scenes with an excellent John C Reilly as husband Franklin are a joy, an actress and actor at the top of their professions. To be so uncomfortable around her own son is heart breaking and brilliantly portrayed, as is their last embrace.
“Kevin” (Ezra Miller). Again, specifically concentrating on the teenage Kevin (though Jasper Newell astounds as the younger Kevin) Ezra Miller is perfectly portrayed as per picture above, dour, cold and very distant. A semi permanent sinister smile just adds to the film’s overwhelming sense of tension, expectation and dread. His first appearance arrives via a Television interview (it’s not clear whether this is real or part of Eva’s nightmares) as Kevin narrates “You wake up, or you watch TV. You get in your car, you listen to the radio. You go to your little job or your little school, but you don’t hear about that on the 6 O’Clock News. Why? Because nothing is really happening and you go home and watch some more TV or if it’s a fun night you go out, you watch a movie. It’s got so bad that half the time the people on TV, inside the TV, they’re watching TV. And what are all these people watching? People like me”.
Ezra Miller’s brilliant performance is summed up perfectly by a late scene as he stands on the balcony of the family home, bare chested, in almost a Bruce Lee like pose. With Franklin apologising for him overhearing a fractious conversation with Eva, of not taking their comments out of context, Kevin responds “Why would I not know the context. I am the context”.
Another heart breaking performance in a film redolent in them.
With a sublime (what else?) musical score from Radiohead’s Jonny Greenwood and an eclectic mix of songs “Nobody’s Child” and “Ham & Eggs” by Lonnie Donegan, through to “Everyday” from Buddy Holly and Wham’s “Last Christmas”, this film is a heart breaking triumph from start to finish. Executive Produced with love and affection from the Director, it’s main star Tilda Swinton and Steven Soderbergh, this is the third in a hopefully long line of classic feature film’s from Lynne Ramsay.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 200 blog articles (with 400+ individual film reviews) within my archives from which to choose:
“Blonde” (2022)
Brutal tale of American heartbreak.medium.com
“The Good Nurse” (2022)
“I think the universe hates me”.medium.com
“The Menu” (2022)
“We’re all going to die tonight”.medium.com