‘The Actor’ Review: André Holland and Gemma Chan Star in a Pretty but Distancing Romantic Noir

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At first glance, Duke Johnson’s application of surrealism in his directorial debut, “The Actor“, is intriguing. The movie features André Holland, a talented actor, as a theater artist who experiences amnesia following a brutal head injury. His assailant is revealed to be the enraged spouse of the woman he was having an illicit affair with. While we don’t witness the triggering event in detail, Johnson provides hints at the film’s outset, allowing us to piece together the events that led to this situation.

In “Anomalisa,” the co-director reworked a screenplay he penned with Stephen Cooney, based on Donald E. Westlake’s suspenseful novel “Memory.” The book moves swiftly, its narrative is urgent and straightforward. However, in “The Actor,” Johnson deliberately slows things down for us. He opts for a dreamlike cinematic style and a leisurely pace to give the film an ethereal quality that you may find captivating yet challenging to recall vividly.

As we encounter Paul Cole (Holland), he’s stirring from an unexpected nap. His sight is hazy at first, and it takes a moment for the scene in the operating room to become clear. For a brief instant, Johnson decides to share Paul’s awakening viewpoint with us. A doctor queries the actor about his identity; Paul responds hesitantly, hinting at the brutal fight he had been involved in, which also attracted the police. Swiftly, we realize that Paul is fortunate just to be alive.

In the heart of America during the 1950s, the news that Paul was involved romantically with a married white woman stirred up quite a scandal within the community. Although hints of racism were apparent, they weren’t thoroughly delved into. Holland, with his expressive eyes and nuanced acting abilities, managed to bring some of these underlying issues to light, but the script itself was rather shallow, limiting the depth that a performer could truly convey.

Shortly following Paul’s morning awakening, authorities promptly push him out of the residential district. With scant recollections and limited funds, the actor boards a bus towards a tranquil industrial town. Upon arrival, he secures housing, employment, and eventually encounters a girl named Edna, a costume designer (Gemma Chan from Let Them All Talk and Crazy Rich Asians). A deep affection develops between them.

After Paul wakes up, local authorities force him out of the suburb. With only a few memories and some money, he hops on a bus to a quiet manufacturing town. There, he finds a place to stay, work, and eventually meets a girl named Edna, who is a costume designer (Gemma Chan from Let Them All Talk and Crazy Rich Asians). They soon fall in love.)

Collaborating with cinematographer Joe Passarelli on the film “Anomalisa”, Johnson imbues Paul’s journey with a captivating and fleeting radiance. The visuals are dreamy and hazy, as if they’re shrouded by a delicate veil, and transitions between scenes have a lightweight, ethereal feel (editing handled by Garret Elkins). Richard Reed Perry, known for his work on “Eileen” and “The Iron Claw”, contributes a score that perfectly matches the spectral atmosphere, while Paulina Rzeszowska, who worked on production design for Rose Glass’s “Saint Maud”, creates a similarly eerie environment.

The assorted aspects contribute to a surreal feel about the movie, leaving you questioning whether any parts of Paul’s depicted life are authentic. Could it be all, some, or none? We humans are influenced by our surroundings and experiences. Isn’t the Paul from Ohio as genuine as the one in New York? Perhaps. However, when the actor returns to the Eastern seaboard, he encounters an older version of himself that bears little resemblance to his initial expectations.

Exploring the character played by Johnson can be intriguing, yet challenging to maintain engagement with. His movies delve into intellectual territories, raising thought-provoking questions about self-identity formation, but the director fails to convey the importance of these questions effectively. The narrative of Paul is often convoluted, even aimless, as he grapples with piecing his life back together. Scenes unfold sporadically, possibly to reflect his fading memory, yet they falter under the pressure of merging dreams and reality. Johnson’s surrealist endeavor loses its allure, replaced by exasperation over its cryptic nature. A touch of mystery is always beneficial in a film, but this ambiguity should evoke excitement. Instead, it breeds frustration.

Occasionally, The Actor stirs emotions with captivating romantic scenes and amusing musings about the art of acting. Holland and Chan’s on-screen chemistry allows us to become emotionally involved in Paul’s relationship with Edna; their romance is moving and poignant. Although Paul’s life in New York can be somewhat unclear at times, it provides Johnson with a chance to satirize certain aspects of the entertainment world. It also enables Holland to explore various methods of portraying feelings of alienation and disorientation. Unfortunately, all these elements don’t quite come together to create a film that doesn’t feel scattered.

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2025-03-11 18:24