By Chlotrudis Independent Film Society
Rating: 4.2 cats
Director: Andrew Patterson
Starring: Bruce Davis | Gail Cronauer | Jake Horowitz | Sierra McCormick
Country: united_states
Year: 2020
Running time: 89
IMDB: Sierra McCormick, Jake Horowitz, Gail Cronauer
Brett says: “THE VAST OF NIGHT, under the direction of debut feature film wizard Andrew Patterson, is a film that takes genre film-making to a whole new level. Premiering at Sundance back in 2019, the film is now set for release this Friday, May 29. This is a film that I’ve been primed and ready for for a very long time since I first saw it, and as the release date gets closer, I cannot wait for a wider audience to get to experience it. First, before the COVID-19 epidemic, the May 29 date was set to be a theatrical release. Amazon will now go ahead and air it on Prime, which I have mixed feelings about since this is a piece that is built for the theater projection experience.
“Set during the 1950s, this film is intensely atmospheric and immersive in its time period, filling a craving that I have of so many other period pieces in that other films usually find it difficult to leave modern cultural canon behind when covering their target time period. As such, THE VAST OF NIGHT creates a longing to be a part of its world, especially for fans of historic pop culture who admire styles, trends, dialogue patterns from different eras, but weren’t lucky enough to experience them firsthand.
“Right off the bat, the dialogue comes at the viewer a mile a minute, and from there, the connection to the two lead performers takes shape. The performances of Sierra McCormick and Jake Horowitz are second to no one you’ll see anywhere as they give a master class in 1950s youth characterization. And the two require you to earn your way in. The film requires you to ‘follow’ each one at first, not daring to let you in with a tight closeup of either of them.. By the time you are caught up with the two characters, it is only then that you’ve earned the right to sit with them and finally get more up, close, and personal visually. It is clear how much preparation director Andrew Patterson put into this project, as the words leap off the page of a script in such a way that is rarely seen in the usual tired, standard-fare line delivery. What’s more is that the relationship between the two lead characters does something that many films are not able to accomplish: they do not cross the line of the secondary romance plot-line that is a classic standard. Instead, it’s a bond that transcends any sort of romance angle, a factor that resonates well after the film is over and one reflects on the pristine likeability of both characters. If there are two lead performances in 2020 that in any way upend or surpass the delivery of these two young performers, I hope that I am able to witness it. I have not been as high on two performances like this in quite some time. The nuances and attention to detail in their mannerisms, their proficiencies and dexterity moving about in their world and manipulating their surroundings, their familiarity with this New Mexico town as if it’s real and been there the whole time: this is all the magic of cinema that draws us all closer to the medium.
“So what is THE VAST OF NIGHT? The ominous title is suggestive enough to set a mood for a slow unfolding plot that will lead the viewer into familiar territory in terms of genre. But, the master craftsmanship is the story here, not the spoilers or the over-explained who’s and what’s that can get in the way of a unique theatrical experience. In fact, the director himself seems to want viewers just to nosedive into it and let the experience speak for itself instead of setting the table for everything one needs to look for and expect. And with that, it is a film in the category of “the less hype and explanation going into it, the better.” Otherwise, a viewer could piece together a few blurby descriptors (which I first typed out and have since deleted) and probably be able to identify what subject matter might be lurking about and then dismiss it. But know this: it is something you’ve seen before in a way you’ve never seen it. You know the plot even though you’ve never seen THE VAST OF NIGHT, but due to such elevated, careful film-making, you will become unaware and transported into a world that has never been depicted in this way. Patterson is able to make a familiar genre experience come to life and transform genre in a way we have never seen. Along with that, a keen observer will notice MANY clever ‘Easter eggs’ that pay homage to genre in a way that does not distract from the film’s overall goals. Yet, on the contrary, there is one stylish narrative framing device that is more obvious that the dozens of Easter egg moments scattered throughout, as the film puts us in front of a television set with title credits and intro reminiscent of THE TWILIGHT ZONE. This doubles as both an atmospheric bar for the audience to key in on the otherworldly nature of something about to unfold among something otherwise ordinary, and it serves partially as the ‘familiar ground’ theme that keeps the film grounded in its pure and honest cause. Thirdly, and maybe most importantly, it does put the viewer in ‘gaze mode,’ as from the initial framing device, we—the audience—are being reminded we are on the opposite lens side; however, as we dive through Paradox Theater Hour’s ‘other side of the camera,’ we are teased and intellectually aroused in such a way as to want to be immersed in the world on the other side.
“One of my favorite memories of describing to someone how good a particular film was nearly 20 years ago was the fact that both a film professor and I (in separate viewing experiences all our own) went straight to the ticket window and bought another ticket for a second screening immediately after seeing it the first time and then afterward laughed and delighted in how our reactions to a film mirrored each other. When I first saw THE VAST OF NIGHT, I had the exact same urge and reaction as that unique film experience from 20 years earlier, and given the chance, I would’ve walked right back in to a seat and re-lived the efforts of Patterson and crew all once again. On May 29, I predict the urge for a back-to-back screening may come back to me once again. Every aspect of this film is treated with exceptional care and planning, and it sets the bar for genre film-making at new heights. The cinematography is mind-blowing and right in target, including a particular sequence that almost warrants a standing ovation right in the middle of a crowded theater. (Everyone will know it when they see it.) The sets, the costumes, just the overall the world-building and direction that this film team put together is all why THE VAST OF NIGHT earns a place as 2020’s best features inside or outside of genre film.”
Michael says: “There’s something incredibly original, yet at the same time intensely familiar, and even nostalgic about THE VAST OF NIGHT, a film set in the light 50’s in a small town in New Mexico. That along with the film’s title, is probably enough to give you an inkling about what this the subject of the film. First-time direct Andrew Patterson (who also co-wrote, co-produced, and edited) has clearly spent a long time carefully creating this beautiful constructed film that slowly unfolds in ways that are so fresh and at the same time, so ingrained in our history. The production design, the soundscape, the script, the editing, the acting, are all crafted to be evocative, and thrilling at the same time.
The two lead characters are really quite amazing. Sixteen-year-old Fay, works the switchboard, and slightly older, charismatic Everett is the nighttime radio dj. The film introduces us to these characters with an extended scene that so thoroughly engulfs us into the feel of the 1950’s, with the most incredible dialog that leaves you breathless trying to keep up. The first ten minutes of the film, perhaps more, are in constant motion, exploring these two characters in such a unique way so that when we finally have a moment to really see them we feel like we know them so well. The film centers on them, and their unique characters, both singly and together, are the backbone of the film. The performances by Jake Horowitz, and especially Seirra McCormick are outstanding, and refreshingly… fresh. Another unique, rule-breaking tool Patterson employs is all the telling, rather than showing that goes on. That’s the point, though, so much of what Fay and Everett discover comes through stories told to them by others. This device is essential for the magical denouement. And that’s all i think i really want to say about this film, because to say more would be to spoil some of the wonder and joy of the viewing experience.
I have to echo Brett’s comment of being disappointment not to be able to experience this on the big screen. I think it would have been pretty special. A fascinating, unique triumph that deserves some attention. 4.5 cats”
Thom says: “I loved THE VAST OF NIGHT. I gave it 4.5 CATS as well. Beautifully controlled and centered perfectly on every move it needed to make. I especially liked Sierra McCormick, although Gail Cronauer was equally as memorable.”
Chris says: “Don’t know how I feel about the Gilmore Girls-paced dialogue, but nothing distracts from that simple-but-still-powerful ending. 3.5 cats“