From the pages of author Lois Lowry’s novel and adapted for the screen by writers Micheal Mitnick and Robert B. Weide, ‘The Giver’ is a film that will have you talking about many larger than life questions long after the credits roll. Director Philip Noyce (Salt & Patriot Games) has crafted a movie that isn’t afraid to ask big questions and most importantly, deliver on a thesis.
In a seemingly perfect community, without war, pain, suffering, differences or choice, a young boy portrayed with striking innocence by Brenton Thwaites (Prince Charming in this summer’s “Maleficent”) is chosen to train with an elderly man (Jeff Bridges) for the role of “Receiver of Memories.” This figure holds the collective memories, history and experience of every generation that came before in order to provide wisdom for the future of the current community.
Too often in life we just accept and forget to ask why. Progression is stopped and learning is usually hindered. Enter ‘The Giver.’ What I love about this movie is how simple it’s premise was. It’s literally the oldest movie trope: where something is clearly broken and an underdog needs to go against the current to fix it. But it works here on so many levels. It elevates the concept of personal responsibility and glorifies the courage of taking a righteous stance. The film does a great job of making us look out our own life and analyze our surroundings. Any movie that challenges you in a capacity that evokes change is a great movie in my opinion.
It also doesn’t hurt that Jeff Bridges and Meryl Streep are hitting on all cylinders either. Even the younger, supporting actors are all really solid. The acting here is all very strong and completely seamless to combine great acting with an age old, (still fresh) classic plot.
Also it should be noted that director of photography Ross Emery’s magnificent use of color and montage elicits the most emotional response in the viewer. His slow introduction of color… pulls the plot forward as much as the action. He should be included in any praise of this film. His images are striking and beautiful in the grey and dull environment they exist in.
Loose ends are really what held back this from being a film of epic proportions. The topics that are dealt with are so big that we needed some backstory and details, unfortunately ‘The Giver’ provided little of that. The music also felt a little generic for a film with such personality. All in all, there is nothing that is horrifically bad, for me it was just a bunch of little elements that combined to spawn an incomplete feeling of the film.
In my opinion though, the biggest issue with ‘The Giver’ is that, at it’s sleek hour-and-a-half, some of its most dramatically ripe scenes play way too quickly and to convey the impact they’re having on the main character; no sooner has he witnessed an unspeakable memory of horror than it swiftly disappears, filed away in his internal archive.
Conformity and ideal conventions are generally how we go about our lives. ‘The Giver’ breathes life to the lifeless and liberates the suppressed. While ‘The Giver’ isn’t by any means a perfect film, it hits the head on intended targets so well its hard to fault it on its loose ends. Viewing ‘The Giver’ would be a great way to start learning about the value of choices, the importance of memories, and the power of love. For all the adults among us who find that cheesy, I kindly ask you to check your pulse. For the young adults who find that statement engaging, please go buy a ticket and be wide open to a challenging yet largely rewarding experience.
ddileo 