‘Train Dreams’ Review: Joel Edgerton Mines Depth, Beauty and Sadness From an Ordinary Life in Ravishing Contemplation of Man and Nature

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Time feels both smooth and choppy as I journey through Clint Bentley’s heartfelt adaptation of Denis Johnson’s novella, Train Dreams. It meanders or trudges or jolts along, touching on moments of bliss, surprise, enlightenment, loneliness, or heart-wrenching sorrow, but just as frequently brushes past ordinary events that seem insignificant at the time. Yet, upon reflection, these everyday experiences carry a profound weight that shapes an ordinary life. This poignant, intricate snapshot of a transient laborer in early 1900s Pacific Northwest is skillfully portrayed by Joel Edgerton in what could be his finest performance to date.

Unbound by pages yet rooted in storytelling, this masterpiece is brought to life through exceptional performances and vividly textured characters that appear as if plucked from a distant era, their visages reminiscent of Walker Evans’ catalog; beautifully captured by cinematographer Adolpho Veloso with his artistic flair for compositions and smooth, elegant camerawork – filmed in the intimate 3:2 aspect ratio; accompanied by Bryce Dessner’s evocative score that spans various emotions; and narrated captivatingly by Will Patton in third person.

Or more casually:

This story feels like it was never meant for pages, instead brought to life through outstanding acting and well-defined characters that look like they stepped out of an old photograph album, thanks to cinematographer Adolpho Veloso’s eye for beautiful compositions and smooth camerawork – shot in a cozy 3:2 ratio. Bryce Dessner’s score sets the mood perfectly, while Will Patton narrates it all with an enthralling third-person perspective.

With a less proficient director, the extensive voiceovers could have felt overwhelming, yet the captivating dialogue flows smoothly like a conversation, drawing us in right from the start.

As a fan, I found myself deeply moved by Bentley’s 2021 release, “Jockey,” which was beautifully carried by Clifton Collins Jr.’s compelling performance. This film, marking the director’s second feature, represented a significant leap in scale and achievement, transitioning into a more traditional narrative structure. The film is held together throughout by Edgerton’s profound portrayal of Robert Grainier, a man who silently ponders the rapid changes in the world around him and his own role within it. Since Jeff Nichols’ poignant interracial marriage drama, “Loving,” I can’t remember an acting role as emotionally rich and layered as this one for Edgerton.

Together with his longtime creative companion, Greg Kwedar, Bentley penned the script, much like they had done for “Jockey” and for Greg’s “Sing Sing.” Their collaboration on these projects has earned them a nomination for the Best Adapted Screenplay at this year’s Oscars.

Bentley and Kwedar have skillfully captured the rhythm and subtle undercurrents of Johnson’s writing, reflecting its intimacy as well as its grandeur, its minimalistic elegance and its straightforward eloquence. This keen awareness of detail brings their film more in line with Johnson’s unique voice, distinguishing it from other screen adaptations such as Alison Maclean’s Jesus’ Son and Claire Denis’ Stars at Noon.

In an economical yet captivating fashion, I found myself drawn into the story as it began with a brief glimpse into Robert’s humble beginnings. Raised as an orphan in Idaho, I never knew his biological parents’ fate – a fact that resonated deeply in the film’s poignant finale, underscoring my sense of his journey emerging from obscurity.

However, Claire (played by Kerry Condon), a seasoned worker from forestry services who crosses paths with Robert later in life, underscores a deeper implication that transcends the common phrase “dust to dust.” She points back to ancient times when the entire region was covered by a glacier. Her vast understanding of history and geography is coupled with a sense of amazement at how every flora, fauna, or person has a unique role and connection within the world. In essence, she equates a recluse in the woods to a preacher in a church pulpit, valuing his solitary life while recognizing its significance.

Through his numerous stints working as a logger in various forests, teaming up with fellow sawyers to bring down colossal spruces, he amasses vivid snapshots of life on the wilderness frontier. Briefly appearing characters may not stick around for long but they make an indelible impact. In this regard, Train Dreams evokes the atmosphere of First Cow, a film by Kelly Reichardt.

Robert typically prefers solitude, studying the actions of others and contemplating their conversations while often finding subtle humor. Among his logging companions is a taciturn man (Chuck Tucker), whom Robert rarely hears speak, only once when he storms away from the group, complaining about desiring privacy. On the other hand, Apostle Frank (Paul Schneider) is the polar opposite, a man who talks incessantly, almost as if he’s allergic to silence. However, his chattiness is abruptly cut short in a way that initially startles and later leaves everyone in stitches of laughter.

The standout character from Michael’s logging years is Arn Peeples, played exceptionally well by William H. Macy. Known as an expert in explosives and often the eldest member on each job, he is also recognized for his constant chatter. Arn frequently expresses that the work isn’t just physically demanding but also emotionally tough, as it involves felling trees that have stood tall for 500 years. His sentiments echo through scenes of barren mountains, highlighting a crucial theme that has become increasingly relevant – the environmental toll brought about by human advancement.

Arn is a man who blends spirituality and philosophy. With the constant rotation of workers on each logging team, he considers any repeat meeting with Robert as a fortunate occurrence. In a simple yet poetic manner, he recognizes that when something is taken from nature, nature will demand its due. He ponders that a tree can be a companion. However, once you start cutting it down, then conflict ensues.

Among Arn’s scant number of companions and one of the even fewer elderly gentlemen who continue to work in logging teams is Billy, portrayed by John Diehl. The gradual decline in Billy’s abilities serves as a clear sign to Robert that it’s time to lay down his saw for good.

Although it may appear that these glimpses of life during the early lumber industry years primarily highlight characters other than Robert, they provide a profound understanding of the protagonist. Particularly noteworthy is his brief, unfortunate stint working with a railroad crew, constructing the Eleven-Mile Cutoff Bridge over a 60-foot deep gorge. This bridge was named for its long curve on the Spokane train line, eliminating a lengthy stretch of land.

In this job, he encounters Alfred Hsing (a Chinese sawyer), who’s violently taken away for an unspecified crime, reminiscent of the brutal treatment experienced by Chinese immigrants during his childhood, including the mass deportations. This incident serves as a chilling parallel to current events. The way Bentley portrays the bridge incident contrasts with Johnson’s depiction in the book, painting Robert as a more compassionate figure, though this experience will ultimately haunt him. Some might argue that the director makes all his main characters overly virtuous, but their admirable qualities contribute to the healing tone of the movie.

During his job, he witnesses Alfred Hsing (a Chinese sawyer) being brutally arrested for an unclear reason, mirroring the harsh treatment he remembered as a child towards Chinese immigrants during mass deportations. This event serves as a disturbing parallel to current times. Bentley’s portrayal of the bridge incident differs from Johnson’s in the book, making Robert appear more empathetic despite this experience continuing to haunt him. Critics might say that the director makes all his main characters too morally upright, but their virtues contribute to the healing atmosphere of the movie.

Among various transient occupations, Robert encounters Gladys (Felicity Jones), a vibrant young woman who sings in the church choir and becomes the radiant core of his existence. Scenes depicting their proposal and the marking of stones for a future cabin by a river are some of the film’s most charming sequences. In this beautiful role, Jones skillfully brings Gladys to life within a relatively brief screen time. Gladys is neither timid nor proper, but an intelligent, self-reliant woman who can hunt, fish and captivate Robert with just her voice. She possesses deep wisdom about life, and her intuitive thinking intrigues him greatly.

Robert recalls his years spent at the cabin, where he raised a young daughter, as the most joyful period of his existence. However, having witnessed numerous acts of violence and death during his logging days, he’s haunted by the feeling that shadows are chasing him and retribution is imminent. Alongside deep affection, Michael also grapples with overwhelming sadness, which significantly alters the remainder of his life. He momentarily finds comfort in the companionship and kindness of Native American shopkeeper Ignatius Jack (played by Nathaniel Arcand, remarkably), but that too, ends tragically.

Train Dreams isn’t just about misery or suffering, but rather it portrays an overwhelming tragedy that leaves an empty space in a person’s life, one that may never be filled again. However, there is also a strong sense of admirable resilience in the way it depicts solitude. There’s a peculiar comfort found in its deeply moving melancholy, and a strange companionship in the voices of the deceased. It explores all the myriad aspects, big and small, that contribute to the complex tapestry of a life, with Edgerton’s performance being so profoundly emotional that it leaves you questioning how he managed to leave the set each day without being utterly devastated.

Without hesitation, let me express my heartfelt appreciation – I absolutely loved this flawlessly crafted film. It undeniably places Bentley among the elite group of indispensable American filmmakers.

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2025-01-27 19:26