Nocturnal Animals (2016): Review
Tom Ford’s Nocturnal Animals is a neo-noir filled to the brim with character drama, fueled by powerful performances, and ultimately catered by a unique story. Tom Ford proves that with A Single Man, and now this film that he is a force to be reckoned with. Creating a world that is solely his, Ford brings a surprising amount of ferocity to the screen with his sophomore effort.
Nocturnal Animals revolves around Susan Morrow (Amy Adams) who receives a book in the mail that is written by her ex-husband, Edward Sheffield (Jake Gyllenhaal). The novel is entitled “Nocturnal Animals”, which reveals itself to be a grueling tale of hatred and depression. One impressive dichotomy Ford masterfully executes is the balance in which he switches between the two separate worlds. The audience begins to witness Susan’s battle with insomnia, her obsession over the novel, and flashbacks of her relationship with Edward, while simultaneously experiencing the violent nature of the novel itself.
One thing to be weary of is how the opening sequence offsets the tone for the rest of the film. The opening credits appear over a series of obese women dancing in the nude. This is an ambitious first image for the audience, considering what comes much later in the film. This sequence feels almost Lynchian in nature, giving the audience a small piece that plays no greater part of the bigger picture. But rather leaving viewers in disarray, forcing the theater to take it as they please versus giving them the pieces to the puzzle. However, as the film continues, the opening sequence holds less and less substance. Not because it’s executed poorly or it proposes a certain emotion, but simply because the tone projected in this sequence does not follow the tone that is perceived throughout the rest of the film. A majority of the film is meant to be taken rather seriously and intensely, and yet this opening sequence throws off the scent of that serious tone Ford seems to be striving for.
With that being said, once those first fifteen minutes have elapsed, the characters begin emerging in full strength. Ford has managed to nurture the power that each character holds in accordance to the story. What seems to be lacking from a lot of modern films is the use and importance of character development. Ford ensures that this is a powerhouse of character drama. By backing these characters into a corner and forcing them to come out swinging, each character has a clear agenda that is eventually changed and then acted upon. Creating a story that revolves around the internal struggle with what is right, what is wrong, and what should be done for the greater good. Ford’s use of tension not only serves the characters he’s created but also the circumstances around which they’re trapped in. Instead of building the tension through an action sequence, he builds it through the dialogue. Whenever there is an exchange between two characters, there is a beginning where a new problem is introduced. A middle, where both sides of the problem are addressed. And an ending, where one side wins. The dialogue scenes go on for quite some time, which also helps in building the tension. Characters discuss some topics for an uncomfortable amount of time. So this tension is built and built, until ultimately one character comes out on top with what they believe is right. The dialogue in this almost serves as a boxing match, we aren’t quite sure who is going to win, but it damn sure is exciting to see each punch thrown.
Amy Adams masterfully channels a heartless persona unlike any of her previous work. Specifically, in the scenes where she shuts down Jake Gyllenhaal. Adams has mastered switching emotions on a dime. One moment she can be cruel and heartless, and in another she is hopeful and caring. Jake Gyllenhaal parallels her almost perfectly. Hot off of Nightcrawler, Gyllenhaal switches 180 degrees and takes on the sensitive writer. With scenes filled with tears and extreme close ups of him crying, to the intense screaming scenes in hopes of revenge.
The real star of the show is Michael Shannon. Shannon plays Bobby Andes, the “under the table” style cop, who goes from the dutiful police officer, to the frightening murder machine. In any of the scenes where Shannon is dismissing one of the minor characters, one can feel the fear coming off the screen. Tom Ford is becoming known for being a character director, bringing a certain facade or persona for his actors to wear and then completely immersing them into that role.
Tom Ford is proving that he has a clearly established vision and he is going to achieve this vision. Forcing powerful performances from his actors, while simultaneously crafting a unique story that stands out. Nocturnal Animals manages to branch out from your standard thriller due to its use of parallel action, switching from one scenario to another and then back again. Whether it be the romantic, nostalgic style of A Single Man, or the no holds barred style of Nocturnal Animals, Tom Ford is showing us that he is without a doubt a young auteur, who will continue to create better and better films as his career continues. With a story that capitalizes on the tension it builds, Nocturnal Animals will keep you clenching your seat until the very end.
