They say the era of movie stars is over. If so, there are many reasons for that, but the way movie actors work is very funny. It can fade…until you see someone with star quality emerge. At once his fame seemed beyond hope, inevitable. That's what I thought about Eva Hewson after seeing her in Flora and Son, the latest from writer-director John Carney's Dublin pop-rock twist (Once Upon a Time, Song Street).
Bad Sisters' Hewson plays a character we've seen many times: a stuck-up, no-nonsense single mom who faces challenges in her own career as she tries to navigate most of her time. Parents and party girl at the same time. Flora Hewson is an Irish girl (Oren Kinlan) with a 14-year-old son who does nothing but fight with her handsome musician ex-husband (Jack Raynor) and loves the night. A dance club that often sets her up with someone she doesn't want to see in the morning. The film opens in one of these clubs, and the first moment that makes me realize Hewson's appeal is when he dances with a man who tells him one afternoon. "I'll take you tonight" and left. outside Like a gnat, but now that he's the only hope left, he's looking at her with such blasphemous, intoxicating lust that you can't look away.
Flora, who works as a nanny, doesn't realize her pride and mostly blames the world for her problems. Hewson plays it up, getting into the arrogance, rough and tumble and making it very funny, but also shows you normal women who are blind. Her Flora is gentle and soft, sharp-eyed and easily offended, a carefree and intelligent dynamo. While imprisoning her former loser, she indulges in obscene temptations as she wants him to remember what he missed. But Hewson, who has his father's eyes (his father is Bono), smiles more, let alone a boy-next-door smile, because I don't know who seems to have personality, who isn't ready to be angry. . Long. There were so many other things in it. In "Flora and Son" Flora's mood swings are romantically portrayed. That's what a movie star does.
John Carney somehow found his musical style. The form is lo-fi (the characters play their instruments), the situations have the bittersweet sensibilities of a good '90s Miramax film, and the songs straddle the line between heavy indie emo and Loggin and Messina nostalgia. If you're the type to complain about soft rock references, Carney's movies probably aren't for you. But for many (like me) they miss the sincerity of the old pop tune. Flora and Son was Carney's first film in seven years that was once too easy (it was too easy a movie) and more than once it's great. It's catchy and haunting, the music suddenly weaves together a story that will have you laughing with glee, and Carney's sweet calling card takes the real path from despair to confidence.
Awkwardly trying to make things right, mischievous 17-year-old Max (which gives a lot of explanation, so the movie doesn't need it), takes Flora's battered guitar out of the trash and repairs it. . . And he put in the bow and gave it to him. He was very interested, but this did not mean that Max did not like music. He lives in the 21st century, his idea of being a musician is to create dance songs on the computer, he's good at it. Looks like the Pet Shop Boys with white boy rap covers.
Instead of throwing away Flora's guitar, I thought about giving guitar lessons. Through endless YouTube guitar tutorial sites, most of which are absolutely boring, she meets Jeff (Joseph Gordon-Levitt) with medium-length hair and a beard sitting in a Los Angeles studio. The windows look out over a canyon filled with eucalyptus breezes. Gordon-Levitt seems to be channeling a young Keanu Reeves and Kris Kristofferson, like '70s relics, sweet and warm, with the singer-songwriter's catchy chorus line-up. Flora thinks she's in love with one look at this smiling hippie singer.
She pays $20 an hour for vocal lessons, and the first thing she wants him to teach her is how to play "You're Beautiful" by James Blunt. But Jeff, in his own way a pure rock fan, believes that a good song should be less general and more specific . (So he's wrong, but still.) Flora seems like an easy listener, showing him how to build chords, and as they play and sing along, he suddenly jumps out from behind the computer and appears in the room. With him or next to him, on the roof or in the garden, the taste is natural, like a cake, something like "the old man". Call it "twice".
Jeff wasn't really with her. He is the only one who feels it. But their three-chord company in a gentle romance begins to shake Flora out of frustration. He also sent her a video of a young Joni Mitchell singing "Both Sides Now." He watched as tears streamed down his cheeks, and Hewson was so good he could have sworn by the tears on the show. It's all part of Flora's musical arrangement.
Flora and Son have a little space, bold and irresistible with pop sincerity. Flora and Jeff would write songs together or he would even take her songs that never sold and expand on them with new tunes. You won't be surprised to learn that the band consists of Flora and her new skills, Max and his dance tunes, and Flora's former bassist. I have a problem with Flora and Son. The film never seems to reach a romantic catharsis. The same works well at once. Here, a slightly more traditional situation forces us to fight for a more traditional solution. Of course the title will tell you why. It is a love story about a mother rekindling her relationship with her daughter. And the rendition of the song is enough to keep you going all day. Flora and Son has always been a character that brings musicals to life, but now they're dating. You might call it pure.
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