THE STORY – Examining the life of Irish playwright Samuel Beckett. The World War II resistance fighter, Nobel Prize winner, philandering husband and recluse.
THE CAST – Gabriel Byrne, Fionn O’Shea, Sandrine Bonnaire, Léonie Lojkine, Bronagh Gallagher, Gráinne Good, Robert Aramayo, Maxine Peake & Aidan Gillen
THE TEAM – James Marsh (Director) & Neil Forsyth (Writer)
THE RUNNING TIME – 100 Minutes
It seems there will always be something that will compel storytellers to the landscape of a biopic. No matter how obscure a figure is, there is always something compelling that people will seek out to uncover the true events that make up the life of a historical figure. In a strange way, it makes sense why there’s such a reliance on these tales because they act as something of a safe investment. For an industry that constantly wants to rely on recognizable properties, the story of a person who actually existed forms its own familiar foundation upon which to build. Like with any venture that trades in recognizable tropes, one hopes the final execution will be one with some sort of novelty. For “Dance First,” not only is the exhibition a pedestrian endeavor, but it is at the service of an exploration of a subject that is not that alluring.
The central personality here is famed author and playwright Samuel Beckett, known for his profound prose and perhaps most famously as the author of the renowned production Waiting for Godot. The very start of this tale begins with him as an older gentleman, played by Gabriel Byrne, as he was accepting the Nobel Prize for Literature in 1969. During the ceremony, he imagines himself quickly leaving the festivities to dwell in an isolated location, where he holds conversations with himself as he recalls the major events of his life. In his younger days, he was driven by a creative ambition that his mother encouraged and stifled, but eventually, he found himself in Paris under the tutelage of James Joyce (Aidan Gillen). Fate would soon lead him to participate in the French Resistance during the Nazi occupation, where he would meet his wife, Suzanna. Their partnership would sustain their own trials and tribulations, all while Beckett navigated his treacherous sea of guilt and regrets.
One may think that the tapestry that makes up the life of a famous artist whose background includes meeting other notable writers, fighting for peace during World War II, and creating one of the most seminal theatrical works of the twentieth century would be rife with interesting details to mine. However, it becomes quickly apparent that as revered as the works of Beckett may be, the actual examination at hand is quite inert. The journey that Beckett goes through, as imagined by writer Neil Forsyth, is not one marred by moments that create an engaging portrait. Instead, the narrative plods along with an episodic pace, revealing its biographical articles in a manner that does not manifest a more captivating aura. It would seem harsh to simply say that Beckett’s life is just not that interesting from a storytelling perspective, but there isn’t much on display to suggest otherwise. There’s some thrill to be had in his early days, especially as war encroached around him, but the venture is not constructed with any novel thematic commentary. By the time the story flashes to the older man, the battle he takes on is more concerning infidelity, a conflict that struggles to be at any level of engrossing.
The filmmaking from James Marsh doesn’t do much to elevate this material, either. Draping the imagery in black and white does not have the effect of making a more textured landscape. The cinematography indulges in a flat aesthetic that barely takes advantage of the contrast as the sluggish drama plays out. The direction yearns for a sense of intimacy with these characters that is lost within the lethargic momentum. It’s difficult to bring vibrancy into this story that even makes the spycraft look like a tedious and dull affair. Marsh is able to draw some intrigue out of a few isolated moments, most keenly felt in the chaotic domestic life that Joyce invites Beckett into. It’s an amusing romp that acts more as an isolated adventure rather than building on anything significant, another example of the lacking propulsion that weighs down the film.
The first impression among the ensemble is that Byrne would be the showcase. He bookends the film, introducing this biography that eventually leads to him taking up a good deal of the second half. However, his portrayal is subdued and monotonous, constantly letting his screen partners outshine him at every turn. While his romantic activities are not that stimulating, Sandrine Bonnaire and Maxine Peake both have a commanding screen presence as his wife and mistress, respectively. The former has a stern demeanor earned through years of mistrust conveyed with a forceful turn, while the latter brings a light exuberance that justifies this excursion into a warm embrace. Byrne is even lesser in comparison to his younger version, played by Finn O’Shea, who delivers a delightful performance that displays the proper gradations of hubris, doubt and reticent passion. A huge loss is felt when O’Shea exits the picture, especially as he makes up for a serviceable Gillen in a snoozy role.
Even though “Dance First” may place itself within a subgenre that struggles to find innovation, that certainly doesn’t mean this effort was always going to be excluded from finding such avenues. There are plenty of ways to find reinvention within mundane trappings, but here, those are mostly evaded. The largest failing is a narrative that chooses to analyze the life of a person who, frankly, is not worthy of such investment. The attempts to create a more riveting sequence of events ring hollow and instead produce an experience full of tedium. There are notable performances to appreciate, though ironically, all worthy of celebration are independent from its dreary central figure. The results are a film that does not justify its own existence beyond a few well-crafted moments that are not enough to save the whole.
