The Father

 3/4

Starring: Anthony Hopkins, Olivia Coleman, Imogen Poots, Olivia Williams, Rufus Sewell, Mark Gatiss

Rated PG-13 for Some Strong Language, and Thematic Material

"The Father" is one of many films to tackle the serious issue of dementia.  Of course, this is not a new subject for movies, as it has been addressed frequently in films from comedies such as "Christmas Vacation" to dramas like "The Notebook" and "Away from Her."  What's interesting about "The Father" is that it is told from the point of view of the man who is suffering from dementia.  We see what he sees.  This isn't the first time that this approach has been used ("Still Alice" beat it to the punch), but it's used more more effectively here.

Anthony (Hopkins) was once a successful engineer.  Now, his mind is failing him.  He refuses assistance and has a revolving door of nurses that have been hired to care for him.  That puts the burden on his daughter Anne (Coleman).  But then, who is this other woman (Williams), who claims to be his daughter? And why do certain events seem to happen multiple times?

This is the kind of movie that demands a certain chutzpah to make.  "Playing it safe" is not possible here.  Telling a story from the perspective of a man whose mind is deteriorating is going to be a massive success or an abysmal failure.  The trick is that it cannot be seen as a gimmicky film.  The director cannot call attention to his methods.  Anyone who watches "The Father" will see Florian Zeller's success.

Zeller makes the crucial decision to avoid any kind of establishing material.  There are no introductions.  There are no clues to tell us who people are or where we are in the story.  That building block, which is so crucial in storytelling, is missing here.  Without that point of reference, we become just as confused as the lead character.

There are many reasons to see "The Father," but none more so than it is a reminder of just how good of an actor Anthony Hopkins is.  His character is struggling to make sense of the world around him, but there is no consistency.  People say one thing, and then the next minute they act as if they have never said it.  One person shows up saying he's Anne's husband, but the minute he turns around he's a completely different person saying the exact same thing.  Hopkins effortlessly portrays the desperation, stress and fear of a man who doesn't know what is or is not real.  Or who is telling the truth.  It's a brilliant performance, and one of his best.  It ranks alongside his noteworthy work in "The Silence of the Lambs" and "The Remains of the Day."

Olivia Coleman's performance isn't as flashy that doesn't mean it isn't effective.  As a woman who is trying to take care of a man she loves but is slipping away from her, she's good.  She puts on a brave and loving face even when her father's behavior deteriorates or when he carelessly insults her.  Hopkins has the juiciest character, but Coleman is our window into this story.

As successful as he is in presenting Anthony's mental state, Zeller gives into the temptation of far too many would-be auteurs.  "The Father" is dry and antiseptic.  By its very nature, this movie is manipulative.  But that doesn't mean it has to feel so serious and stodgy.  It's not quite as bad as "The Piano Teacher," but there's no denying that it feels repressed.

Flawed as it may be, "The Father" still represents good filmmaking.