Daddy Longlegs
by Warren Curry
7/8/10
For the first 15-20 minutes of Josh and Ben Safdie’s “Daddy Longlegs,” lead actor Ronald Bronstein — lean, wiry, prone to bursts of manic energy — appears to be doing an imitation of a quirky character from an early Jim Jarmusch movie. Cynics (who, me?) may find themselves in the position of waiting for the actor to slip, thus revealing the first cracks in the film’s authenticity. But after those initial 20 minutes expire, one comes to the realization that Bronstein’s performance is absolutely genuine…and so is the Safdies’ deceptively excellent film.
The cynicism mentioned above largely stems from my less than positive feelings about Josh Safdie’s first feature, “The Pleasure of Being Robbed,” which I recall being an unfocused, self-indulgent exercise in micro-budget minimalism. Safdie, with the help of his brother Ben, hasn’t changed his style or methodology, but this time focuses on subject matter that’s very personal, and the difference is enormous. Bronstein’s irresponsible but resilient Lenny — a master and failure at parental improvisation — is based on the filmmakers’ father. At some points in the movie it seems like a miracle that the brothers lived to tell this tale.
Scrappy and vibrant, “Daddy Longlegs” captures the gritty vibe of New York City better than any film in recent memory. Lenny’s a natural in this environment, living in a modest studio apartment, which for two weeks every year houses the man and his two prepubescent sons, Sage (Sage Ranaldo) and Frey (Frey Ranaldo). Lenny’s love for his boys, who live with the man’s ex-wife the rest of the year, is undeniable, but his parenting decisions are almost always questionable and can even border on the criminal (I won’t spoil the surprise). So how is this ill-equipped father not utterly detestable?
Understandably, some may find Lenny’s behavior loathsome, and if you fall into that camp, your tolerance for this film will likely be minimal. But if you’re able to view Lenny as a sort of unwitting antihero, then the movie becomes a surprisingly resonant emotional experience. Lenny’s problems stem from the reality that he’s stuck in extended adolescence, seemingly no more capable of caring for his children than an average high school student would be. The difference, however, is that it’s obvious Lenny truly wants to succeed at being a father. His heart is in the right place, yet his judgment is extremely off — this makes for a dangerous juxtaposition and a pretty fascinating character.
Bronstein, who directed the bizarro (I mean that as a compliment) comedy “Frownland,” never hits a false note. Other actors may have reveled in making Lenny repugnant or misanthropic, but Bronstein gives him human qualities. The actor doesn’t so much play a role, rather he just is the character, take him or leave him. While I really should know better, there is something I find a little endearing about this guy.
That strange, hard to define charm is most likely what Lenny’s ex-wife (Leah Singer) used to see in him and what his girlfriend (Eleonore Hendricks) currently sees in him. It’s also probably the reason he’s able to hang on to his job as a projectionist, though he’s far from a model employee. It’s evident Lenny’s in for a spectacular downfall at some point, but he also appears to have a gift for narrowly escaping disaster. If he has few admirable qualities, resourcefulness is one of them.
Like many young indie filmmakers, the Safdies wear their Cassavettes’ influence on their sleeves, and they learned all the right lessons from his movies. “Daddy Longlegs” is absent any technical polish or flash and is all the better for it. This is an organic piece of filmmaking built around an indelible lead performance/character, a virtually tactile environment and a story told with love. In other words, it’s a fantastic film.
contact: wcurry718@yahoo.com
Daddy Longlegs (USA/2009)
Directors: Ben Safdie and Joshua Safdie
Cast: Ronald Bronstein, Eleonore Hendricks, Sage Ranaldo, Frey Ranaldo
Not Rated, 99 minutes
(IFC Films; opens in Los Angeles July 9, 2010; opened in New York City and On Demand May 14, 2010)