The Goldfinch is good, but it could have been great
That’s just the kind of packaging that studios used to dream about, back in the heady days of Miramax. But it seems that tastes have changed, and literary adaptation has moved over to the longer forms of television shows and limited series. In film, the new and the bold—and the biopic—reign, at least in terms of awards shows. Which oddly makes, so laden with privileges, a bit out in the cold here in 2019.
Crowley’s film at least makes more of a case for itself than I expected. So many movies like this are episodic and plodding, hitting the required beats but conjuring up no real sense of cinematic life. Crowley, though, finds a melody fairly often, imbuing his film with a lyrical hush and sadness. It’s gorgeously filmed, well-appointed New York spaces given the lacquered glow of an old painting.
There is that presiding sadness, yes—but the importance of the painting, and all the other art and objects and music that the people populating the movie care so much about, isn’t palpable enough. Ultimately, the film has to hurriedly state its themes at the end because it’s been two and a half hours and it’s time to wrap things up.
as two different versions of Boris, the dynamic, only-in-a-novel Ukrainian emigre whom Theo forms a close and ultimately catastrophic connection to; there’s just something a bit mannered and over-considered about their performances.is better than I expected it would be. And yet in clearing that bar, it bares open all the possibility that it could have been even more.
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