The older man, who appears to have traveled back in time to observe, watches them although they apparently can't see him.Īfter they enter the house, another woman who appears to be serving as a business manager greets them. The younger woman escorts the boy into the house. His grandmother, who has continued to watch discreetly from a distance, leaves the area once she knows he has been admitted. He gives her the letter, saying it is for his mother, and she lets him in. The gate is locked but a woman greets the boy. They came near the gate of the same mansion the older man visited 45 years later, and the grandmother leaves the boy there. The older woman produces a letter and asks the boy to give it to his mother. The scene shifts to some 45 years earlier where a twelve year old boy is being escorted on foot from a train station by his grandmother. It is apparently abandoned with empty rooms but has an aura of past opulence. He is alone as he starts wandering through the rooms of the mansion. It simply is.An older man wearing a business suit is dropped off at a mansion by his driver. The conclusion is that love, joyous, demanding or painful, isn’t at all strange. Ira Sachs and co-writer Mauricio Zacharias haven’t done anything flashy, but the dialogue and behaviour of the different generations are so well observed and the unhurried direction focussed so gracefully on eloquent moments, that the cumulative effect is profoundly moving. In the deceptively simplest scenes, Molina beautifully conveys a rich emotional inner life. Lithgow is given to acting large, but he shows remarkable restraint in a gentle performance that is as much about feeling old, lonely and helpless as it is about relationships. More amusingly, George is crashing on the couch of exuberant gay cops (Cheyenne Jackson and Manny Perez) whose all-night parties and Game Of Thrones marathons do wonders for our image of the NYPD but take their toll on the job-seeking, apartment-hunting, Chopin-loving guest. Chatty Ben is soon driving his novelist niece (Marisa Tomei) wild as she struggles to write with him gabbing away in the room, while awkward, secretive teen Joey (Charlie Tahan) bewails his loss of privacy and meanly vents his resentments. No matter how much you love someone, having them in your space, and your kitchen, is testing. Ben, an aged, ailing artist, isn’t earning, and their complicated co-op arrangements and investments fail them, so they are out on the street. But music teacher George is fired from his Catholic school when the fanfare around the nuptials proves too far-out for the bishop. When cultured, witty Ben (Lithgow) and George (Molina) are finally able to legally wed, the occasion is an especially happy day shared with an affectionate circle of family and friends. When it comes to on-screen chemistry it’s unlikely any other star pairing of the year will top the absolute deliciousness of troupers John Lithgow and Alfred Molina, so at ease together in this bittersweet treat on relationships - lovers, family, friendships.
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