A little ponder about Nebraska (2013)

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)

28 December

A continuation from here

My ponder is confirmed to have validity by reading Patrick Ogle's (@paogle's) review :

Go to see #AlexanderPayne' "#Nebraska" if you love film. It is a masterwork of cinematography and more. http://t.co/cs0DjZOrwU
— patrick ogle (@paogle) December 23, 2013

What I am homing in on (pun intended, as one reads on) is this :

He heads out, on foot, from Billings, Montana to Lincoln, Nebraska to collect his reward. Everyone knows there isn't any reward (except perhaps Woody).


This is where the film opens, with the given of Woody (Bruce Dern) determinedly walking, and being pulled over by a cop car.

What is he doing ? Has he really never seen a scam like this one before - or has his wife Kate (June Squibb) always ferreted away such disquieting items of mail in recent years ?

The film does not invite us to dwell on this - we are straight there in media res, and it does not behove us to upset the apple-cart and ask Why now ? Why this ? Why not before ?

We don't really even think to question whether he seriously purposed to set out on this journey as we see him, but what if he did - or, more to the meat of things, what if he did not ?

A superficial - maybe facile - reading of the narrative has it that he is addled by booze, deluded, and impervious to reasoned argument. But what if this is a cry for help, a latching-onto this letter because it comes from the capital of the state where Woody grew up ? For it is also a given of Nebraska that we start in Montana, but nothing, then or later, tells us why Kate and Woody are there (except that she acquired him, won the prize).

In what unfolds, there is a searching for worth and value, which, with David's (Will Forte's) insight, the $1,000,000 symbolizes - until he gets there, Woody expresses no enthusiasm for his home town, wanting to press on to Lincoln to claim his prize, a little, maybe, as Paul talks about in his second letter to Timothy (4 : 7 - 8) :

I have fought the good fight, I have finished the race, I have kept the faith. Henceforth there is laid up for me the crown of righteousness, which the Lord, the righteous judge, will award to me on that Day, and not only to me but also to all who have loved his appearing.


On the level of symbol, of Nebraska as another place, Woody is seeking something outside himself, just as Paul concentrates on a heavenly realm and considers his earthly life to be a race that he has run and which is now finished. Woody, in turn, is summing up who he is and what he means, and having a reckoning, and without the journey (pretext or not), that would not have happened.

Returning to Billings is the least of that, so the film does not have that in its ambit once the business in town has been addressed. Nor does it really matter what the gestures that David makes at the end signify in actuality, beyond the fact that they uphold his father and his status - Woody has had his homecoming and has found himself, and that is what matters.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Really shot in Wyoming !

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)

7 December

89 = S : 14 / A : 15 / C : 15 / M : 17 / P : 13 / F : 15

A rating and review of Nebraska (2013)

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)



* Contains spoilers *

It may not only be true of lesser films (well, not true of The Third Man (1949)), but Bel Ami (2012) fails at attempting to pass off London as Paris, and On the Road (2012) is a film that, as this one does, features landscape - just nowhere near, reading the credits, where the various journeys were supposed to be happening.

It is an interesting choice to present this film in black and white, because it really adds almost nothing to what we see except the views of the scenery, which are faultless. With Frances Ha (2013), it worked, it did enhance the film's cinematic qualities, but here - apart from the obvious suggestion that much of life in states such as Montana and Nebraska is being presented as lacking a dimension - it was only the fleeting longer shots in transit that benefited, but, then, so much that I would not have had the film any other way.

And this is a film that says something about acceptance, though that does not mean that I have to accept this highly inaccurate account of it from IMDb :

An aging, booze-addled father makes the trip from Montana to Nebraska with his estranged son in order to claim a million dollar Mega Sweepstakes Marketing prize


I see no evidence that David Grant (also unwillingly known as Davie / Davey, and played by Will Forte) is estranged from his father Woody (short for Woodrow, and acted by Bruce Dern), and it is he, rather than his brother Ross (Bob Odenkirk), who comes for him when he has been picked up by the police at the start. The other descriptions beg the question : what life has Woody led that he is as he is, and can his wife Kate (June Squibb) exculpate herself ?

The course of the film takes us to Hawthorne, where Woody grew up, and where there were at least two women in his life. One, sympathetically and with great naturalness brought off by Angela McEwan, is Peg, whose humanity is evident, and says that Woody knew that she 'would not let him touch all the bases' - by implication, the highly judgemental Kate, his wife (Squibb with great ease makes us dislike her), would. (There is a grim scene in the Lutheran graveyard (Kate is nominally a Catholic), where she calls a dead member of Woody's family a whore for having had sex from the age of fifteen.)

It is here that, bit by bit, we can piece together the influences that have worked on Woody, such as the death of a brother with whom he shared a room, being shot down in Korea when being transferred, and the age at which he and two other men from the town were sent to war, and how he returned from it. The laughter at Woody's expense seemed to have died down by this stage (and, in this respect, the film has the pattern of Philomena (2013)), but where it laid things on a little too thickly was with the vacant relatives, who, for example, are querying the journey-time from Billings, Montana, and even infect David with it, who asks Ross how he travelled over.

At Mount Rushmore (another place that Woody did not wish to see), in what he has to say about the monument not looking finished (which. with his critique, it did not), we are given the insight that how he relates to the world does not mean that he is ignorant and foolish, and, in his way, he just as much speaks the truth as he sees it as Kate does. (Indeed, we hear him dub other drivers idiots, and tell a mechanic that he is using the wrong wrench.)

I think that the script suitably covers objections to some of the things that happen for the purposes of the plot and which get us on the road, and that it works well enough as an exploration of the goals that we set, or expectations that we all have, without needing Woody's background and circumstances - the things that we think that we must have, when really something else (or lesser) might do.

In emotional terms, rather than those symbolic of setting out on a quest (and feeling that compulsion), the film resolves itself - and rights some wrongs - right at the end (even if we do not quite know how it can be done, and maybe it is a bit too pat). What is clear is that David has also been in need of healing from the childhood that he had where he is likened to a girl or a prince, and called beautiful - to assert himself, not least as he does, albeit with a fist, with Woody's former business partner Ed Pegram, and to believe in his worth.

The quest itself turned out to have to be completed, even if it was just to be told that it had not garnered anything except an ironic cap, but probably for other reasons by then. As for having to live with the disparaging Kate, nothing had changed that, and her threats of putting Woody in a home, and she had only defended him out of self-interest, both not to have relatives clamour for money, and to have him as her own victim - except that David certainly has more respect for his father, and in that there is hope...


As for the review on IMDb (by Steven Leibson) that calls this a hilarious comedy, well...

However, I quite liked Mark Kermode's review in The Guardian, so here it is (or gu.com/p/3yvcg/tf, if you wish to share).


There is now a little follow-up piece here...


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)