The Fabelmans
In cinemas now
The COVID-19 pandemic was a contemplative time for us all, such was the immediacy with which we were made to transition to a new way of living. Naturally, this prompted many of us to reflect on the lives we had led to date and ponder whether things would ever be ‘normal’ again. This existential quandary perhaps explains the fervent spate of ‘personal’ films released in the years since COVID restrictions began to ease.
Whether it’s Tarantino’s bloated Once Upon a Time in Hollywood, Sam Mendes’ well intentioned (but wildly uneven) Empire of Light, or Damien Chazelle’s critically-panned Babylon, the need for filmmaker’s to pay homage to the unifying power of cinema has been painstakingly clear. And, with The Fabelmans, one of the silver screen’s greatest sons has gotten in on the act.
Steven Spielberg’s coming-of-age tale has garnered acclaim and attention for the fact that it is a semi-autobiographical inspection of his formative years as a filmmaker, as well as a tender paean to his deceased parents. And it is most certainly an emotionally affecting film in parts, due in no small part to Gabriel LaBelle’s stellar breakout performance as Sammy Fabelman, an aspiring filmmaker whose prodigious talent behind the camera allows him to understand the inner machinations of his dysfunctional family and those around him.
Spielberg and Tony Kushner’s screenplay, adapted from conversations between the two about the director’s childhood, is also one of The Fabelmans’ USPs, with Judd Hirsch and David Lynch benefitting most from some of its more scene-stealing lines. Cinematographer Janusz Kamiński also ensures that the film is always a visual joy to behold, none more so than in the early scenes when a young Sammy experiences his first interaction with the big screen.
And yet, the actual events of The Fabelmans are oddly humdrum, with very little happening to justify yet another gratuitous runtime. That might explain why its critical acclaim has not translated into box office returns, with audiences seemingly (and understandably) fatigued by excessively long films that do not speak to their own lived experience. That is not to say that there is anything wrong with Spielberg indulging in retrospection, just that such artistic dalliances are only ever likely to appeal to a niche audience.
Cineastes are likely to find some value in The Fabelmans, but it is fair to say that it is far removed in entertainment value from some of Spielberg’s truly great work.
