A rating and review of The Secret Life of Walter Mitty (2013)
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7 January
A rating and review of The Secret Life of Walter Mitty (2013)
93 = S : 16 / A : 16 / C : 16 / M : 17 / P : 15 / F : 15
S = script
A = acting
C = cinematography
M = music
P = pacing
F = feel
9 = mid-point of scale (all scored out of 17, 17 x 6 = 102)
When Sean Penn (Sean O’Connell) and Ben Stiller (Walter Mitty) finally meet in this film, it is at the quiet point around which the world turns – Penn, who could so easily have outclassed Stiller in that sort of way that older actors can, just casually reveals that he does not always take a shot when he ‘is in’ the moment of it.
As a photographer, capturing the oftentimes fleeting, he knows what it is to have to wait for his subject to come to him, but he speaks against this idea that we ‘capture’ so much, with our camera-phones and the like, that we are too busy capturing to be there. (That irritating advertisement where a couple ‘shares’ that they have just launched their pastel-hued candle-boats, and straightaway get back an evauluation of how wonderful it is.)
This is not a notion that James Thurber, the writer of the four- or five-page story on which this (and the preceding) film is based, would have rejected. Although he fought for his own career, he also recognized, as Stiller wants to do in his closing credits, all the hands through whom one’s work passes and to which it is entrusted.
I also do not think that he would have been too bothered, unless one ascribes some arcane respect to his original creation (who is not so much a character, as a behaviour), by the action-hero figure that Mitty pictures himself to himself as, which seems quite in line with the ‘ta-pokka, ta-pokka’, and had more than fifteen years before he died in which to get used to Danny Kaye as Mitty – that said, those of an anxious temperament, might find the noisy character that he becomes, lifting up the pavement as if he has hammer-drills in his heels, something that it is welcome he discontinues, and that heavy ticking noises also subside.
This is not a film where we are really invited to know whether, like George Bailey in It’s a Wonderful Life (1946), he gave up the life that he desired to conform and provide a wage, but it is touched on. (And then Mitty has a chance to do some big things after all, and he does, although he only day-dreams it happening, become a younger version of himself – hair, looks, etc., to reflect well-being) What we do see is that his mind races ahead to encounter some new possibility, and that he was not ‘in the moment’ but outside it, as if as a way of coping with it.
Thankfully, a careful script from Steve Conrad acknowledges that, when someone says that someone else ‘zones out’, is just a phrase, not the only phrase, and does not convey very much of the experience, which, at the appropriate time, Mitty tries to put into words, and is understood. In what is almost an entirely telephonic contact with Todd Maher (Patton Oswalt), who is trying to explain why the bits that Mitty just skipped might be important to a functioning profile that will let him send ‘a wink’ that he agonizes about sending (only to find a problem when he finally does press the enter key to contact Cheryl Melhoff (Kristen Wiig)), Mitty talks about what has made day-dreaming less frequent.
All the while, we are whirled up in an adventure, as to whose status, given that Mitty has not re-emerged from it, we feel reasonably, but not totally, settled. Then, when Penn and Stiller meet we have this beautiful moment where they bicker, take offence, listen to each other, and pitch into a riotous football game with sherpas before the setting sun. Something different, something apart from life, even if Stiller has actually been landed on a glacier by helicopter (presumably, not flown by his screen pilot) : a moment apart, a positive version of that endless journey to discover what is best not known in Apocalypse Now (1979), because the real horror is the casual, uncaring dismantling of an iconic publication.
We do not dwell there (although a cock is snooked at Ted Hendricks (Adam Scott), who tried to belittle Mitty, but just resulted in endearing him to others), because we turn to relations Melhoff / Mitty, but there is a tribute to Mitty’s care for the work of its leading photographer. In between, Stiller has been allowed to present convincing enough evidence of his credentials on the skateboard, and there is just sufficient of his past with his sister and his parents to see who he is now. A certain fastidiousness, keeping a tally in his cheque-book, and so on.
On the side-lines, but engagingly playing a mother whose need to have, in perpetuity, a piano which we are not even certain that she still plays (or desires to play – the so-called elephant in the room) figures large is Shirley MacLaine. A warm portrait to which she brings real affection, as well as acceptance and care.
This is a Mitty for our century, a man who takes his imagination and turns it into seeing what is possible, rather than being held back by whether he can get the train there. He is not everyman, so his solutions are not everyone’s, but the cinematic glories of where he goes make this film shine – although one has to wonder whether some Icelandic influence has gone into the caricature of Greenland (Melhoff, knowing Mitty better than he thinks, checks that he knows that they are different places…), which is, if not exactly dismissive, is scarcely flattering, with men drinking huge beers all day from glasses shaped like boots and, even at their smallest, they are still huge.
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
