Although Will Ferrell may always be “kind of a big deal” it would behoove any actor to branch out and show they have a bit more depth than say a 6’3 Elf or a drunk guy arguing with Snoop about how everyone should go streaking. Mr. Ferrell has a following and will forever be implanted into the last decades comedic lore and rightfully so. But unlike his comedic partner John C. Reilly he has yet to gain that elusive “indie cred” and transition into an effective dramatic role. In 2006 there was minimal effort here in the severely underrated, whimsical gem Stranger Than Fiction but it still didn’t steer too far from the norm to show the ability at hand. But with Ferrell’s recent venture into the true Independent film world, we see a talented individual intelligibly aware of his career progression and looking for a medium to showcase a bit more than what his current audience bargained for. And lets be honest here, the timing is pretty damn good. The Other Guys was reviewed well, but in the end, trying to erase the colossal disappointment that was Land of The Lost from our memory is like shooting a second free throw after air balling the first. The pressure is on my friend, and we all can hear the crowd chanting.
Ferrell seems to embrace this challenge though in the new small film from first time Director Dan Rush, Everything Must Go. Here we see Ferrell dial everything down a few notches in a subtle but poignant role that gives us a snippet of the character actor he could become. Based off the famous short story by Raymond Carver, we catch a glimpse of a man truly at the brink, fully aware of what “when it rains it pours” really means. Having lost his job, his wife and his dignity, Nick is left out on his front lawn peddling his belongings in what becomes much more than just a yard sale. Nick struggles to come to grips with the shambles but in this process starts to unravel what his priorities in life really should be. The performance doesn’t break the emotional range needed for an Oscar nod but what Ferrell captures here is both unique and powerful, even in his subdued ways. This is important because with a comedic actor making this dramatic turn that ability to keep the performance leveled and under control and not venture into their previous over the top form can at times be daunting.
Having said that, I will always maintain that comedy is harder to pull off than drama for any actor. This is why the ones who usually really get it can transition rather seamlessly into a more serious role while the reciprocal is quite rare. This acting progression has been proven time and time again with the likes of Robin Williams, Jim Carrey and even Bill Murray. What really separates these performances for me though are when an actor can still keep the subtleties and comedic timing that made them so enjoyable while making this transition. Adam Sandler in Punch Drunk Love, was a perfect example of this. Director P.T. Anderson played to Sandler’s strengths with his pent up anger and aggression while still pulling that dramatic performance out of him within a romantically themed element.
A similar result is had here where Ferrell’s animated facial expressions and wit shines through at what would normally be a tense moment. Scenes with the neighborhood kid Kenny, flawlessly played by a 14 year old Christopher Jordan Wallace (son of legendary rapper The Notorious B.I.G.) are primary examples, injecting clever banter that is both veridical and touching. The film does struggle at times to adjust the pacing in the third act but manages to tug just enough at the heart strings to keep it relevant. In the end it may not conclude with a bang, but it still represents a rewarding character study and a visceral journey into a man trying to figure out his life, one sell-able possession at a time.
Currently showing at the Art Theater, it makes for a significant upgrade over their previous trite documentary I Am which is nothing more than an Oprah book club gone bad with a not so subtle, but overly simplified religious undertone that screams pretension. Safe to say, I am pleased to see the addition of Everything Must Go instead in what is the best regular release film to grace our Art Theater since Of Gods and Men nearly two months ago. When a solid indie passes through our beloved theater it is up to us to show our appreciation and I highly encourage both fans of Ferrell and independent film in general to seek this out and make the trip to Church Street. It’s well worth it.
Art Theater Wish List: Tree of Life (June 24th!), TrollHunter, Submarine
3 to See (Honoring the long lost ‘At The Movies’ people here): Bridesmaids, Everything Must Go, Source Code
3 to Avoid: Hangover 2, Pirates whatever number this is, I Am