Movie with Abe: The Disappearance of Eleanor Rigby: Her/Him

The Disappearance of Eleanor Rigby: Her/Him
Directed by Ned Benson
Released October 10, 2014

One month ago, “The Disappearance of Eleanor Rigby: Them” was released, starring Jessica Chastain and James McAvoy as separated spouses struggling to move on with their lives following a traumatic event. This weekend, audiences can now see the story in two parts, titled “Her” and “Him.” These two separate films, shown together in alternating order, provide considerably more insight into Eleanor (Chastain) and Conor (McAvoy) and a fuller picture of each spouse’s efforts to put her/his life back together. Most of all, this is a rare and unique opportunity to more completely examine two characters and how it’s possible to see a relationship from different perspectives.

What struck me most about the experience of sitting down for the full experience of this double feature, which clocks in at three hours and twenty-one minutes, is that I realized that I so rarely see films more than once. Sure, I’ve watched “Back to the Future” and “The Rock” and most of the “Star Wars” films countless times, but it’s been a while since I purposely saw a film twice, let alone in theatres (probably “The Departed” and “Children of Men” back in 2006). The experience of screening these two films just six weeks after seeing the other version was strange, since I knew I could recall the same events but couldn’t remember if they were exactly the same or slightly different. And that’s what makes watching “Them,” “Her,” and “Him” immensely worthwhile – seeing how Eleanor and Conor internalize situations, and to see whose memory ends up in the collective picture.

Starting with “Her” is definitely the wiser route since, as the film’s title suggests, Eleanor has the more prominent role, and thus more of the scenes in her chapter end up in “Them.” As a result, “Her” revisits the tragedy of Eleanor’s situation and the way in which she retreats from life to try to cope with it. “Him” presents Conor in many settings in which he was not seen before, giving him a more complex relationship with his father and coworkers and a life of his own not tied entirely to Eleanor and the way he feels about her. That certain scenes play out with minor variations is not always consequential but does have a deeper meaning. It’s best evidenced in one scene where Eleanor hears Conor tell her that he loves her, to which she responds “I know.” In Conor’s version, the roles are reversed. These two wounded people hear things the way that they need to, and it’s indicative of a more widespread ability to experience moments in a way that makes sense and is bearable. It’s a fascinating insight into human nature that serves as these films’ most sparkling accomplishment.

Whether this story needed to be told as three separate movies isn’t clear, but given that writer-director Ned Benson has opted to make it that way, it’s worth a look. Those who felt lost or dissatisfied with “Them” won’t find the answers they were looking for in “Her” or “Him,” but those who found “Them” to be a powerful, mesmerizing experience will definitely want to come back again – twice – to more fully grasp these characters and their journeys.

Both: B+

Movie with Abe: The Disappearance of Eleanor Rigby

The Disappearance of Eleanor Rigby
Directed by Ned Benson
Released September 12, 2014

Don't let this film's title fool you. It's not about someone going missing, being lost or kidnapped, or anything like that. It's nowhere near as dark as the similarly-titled "The Disappearance of Alice Creed," and has very little to do with the Beatles. It does, however, showcase the distancing between two people, as Eleanor (Jessica Chastain) separates herself from her husband, Conor (James McAvoy), effectively disappearing from his life. That process is a mesmerizing, highly emotional one, wonderfully told in this affecting and immensely human film.

This story begins from a point of complete joy and bliss, as Conor reveals to Eleanor in the middle of a date that he cannot pay for dinner. She responds by casually taking off her shoes and walking out of the restaurant. When he runs after her as he is pursued by an angry waiter, the two reunite in the park and share an intimate and passionate moment. That ecstasy and closeness is contrasted greatly by the loneliness visible on almost every successive moment as Conor tries to find his way back to the elusive woman he used to call his wife following a tragic event whose nature is revealed midway through the film.

“The Disappearance of Eleanor Rigby” splits its time between its two protagonists, showcasing their individual lives as Eleanor reconnects with her family in Connecticut, portrayed by Jess Weixler, Isabelle Huppert, and William Hurt, and Conor runs his New York City restaurant with the help of Bill Hader’s chef and confidante. We see mostly what they are like apart rather than together, which makes the moments they do share on screen absolutely electric. This story, “Them,” will be released as two separate films, “Him” and “Her,” next month, designed to showcase their relationship from each perspective. After this start, those entries should be very worthwhile.

It’s difficult to describe the range of emotions captured and channeled by this film’s two stars. Both are actors whose entrance into cinema was defined by suddenly being everywhere, taking on a number of diverse high-profile roles within the first few years of making it big. Chastain, who earned Oscar nominations for being perky in “The Help” and determined in “Zero Dark Thirty” here delivers a focused and passionate performance as a woman who needs desperately to disconnect from her world in order to find some sort of peace. McAvoy, who has been the romantic lead in “Atonement” and other films and is no stranger to being pushed away by the woman he loves, is genuine, affable, and dedicated, never losing faith in the romance he longs to reignite. Watching these two on screen is an incredible journey, and the film is at its best when their paths do intersect. It’s an experience that’s at times devastating, inspiring, heart-wrenching, beautiful, and unforgettable.

B+

Tuesday’s Top Trailer: The Disappearance of Eleanor Rigby

Welcome back to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

The Disappearance of Eleanor Rigby – Opening September 26, 2014 and beyond

This is a film that looks as intriguing for its content as it does its format. Jessica Chastain and James McAvoy starring as a couple during the ups and downs of their romance is appealing enough on its own. But the way in which this film is being released is about as intriguing. There are three separate versions: Them, Him, and Her, each representing different points of view of the relationship. What that ends up meaning for the film and its angles isn’t entirely clear, but the concept is definitely alluring. Chastain catapulted to stardom with six breakout roles in 2011 – I saw five and was extremely impressed with two of them and appropriately pleased with the others – and is now a two-time Oscar nominee with enormous talent just waiting to be tapped. McAvoy, on the other hand, first wowed me in 2006 and 2007 with “The Last King of Scotland” and “Starter for 10,” and despite few awards, has had similar success. Viola Davis, Bill Hader, Ciarin Hinds, Isabelle Huppert, William Hurt, Archie Panjabi, and Jess Weixler are all in the supporting cast, which is definitely a plus. I definitely want to see these films, and to see how all these players factor in to each version. I’m hoping that the distributors arrange a day of screenings where all three can be shown back to back, because this is a treasure I’m not sure will ever have the opportunity to be digested in the proper manner by most audiences.