Mandy — A Review

17th May, 2019.

Yes: it’s true.

It’s been a while since I’ve actually gone and sat down with a lot of things.

Cheese, for example.

Not that I’m a BIG fan.

Or a Big Mac.

The nearest McDonald’s is a few miles away.

Something I’d imagine my GP is grateful for.

OR sat down with a good read.

Saying that?   I’ve got Ward Moore’s Bring the Jubilee sitting in my ‘To Be Read’ pile.

“So, Paul,” I hear you ask, “What ELSE haven’t you sat down to do?”

Lots.

But tonight … ?

Tonight, I sat down with a film: one recommended to me, by an old friend.

The 2018, Panos Cosmatos Nicolas Cage movie, Mandy.

Hmmmm … 

~≈§≈~

Set in the Reagan era US, in 1983, Mandy introduces us to Red (Nicolas Cage), and Mandy (Andrea Riseborough): a a happy couple living in the wilds of North America.

Until, one day?

One day, Mandy get’s spotted by Jeremiah Sand (Linus Roache): a man convinced of his god given right to whatever he wants, and tendency to go an get it … 

And a group of devoted, followers, keen to do his every word.

That night … ?

That night, they group find out where Mandy works.   Follow her home.   Tie Red to a fence with a lot of barbed wire … 

And get to offering Mandy a deal … 

If I tell you Mandy laughs at the suggestion … what would you say happens?

You’d be right: “Ends Badly,” is the right phrase …

~≈§≈~

Now …

Good, bad, indifferent, what ARE we looking at, here?

On the whole?   I’d say a good, watchable movie.

I have to admit: I do have reservations.

For starters?   The length.

Duration, if you’re going to get like that!

I swear, the older I get, the less patient I get with the longer form movie: and, at two hours?

I think Mandy could have shorter.



Especially in the first half of the film!

Director, Panos Cosmatos does seem to like taking his time introducing his leads.

AND his villains.

In a way that feels frustratingly slow.

Just as importantly — or frustratingly, if you’re me — does seem to like using lots of red and blues filters — and audio filters — to throw us, the viewer, into the hallucinations the characters are experiencing.

Personally?   I think those filters could maybe have been turned down a bit.

They’re fantastic looking … but something I found overwhelming, at times.

And maybe something that got in the way of the cast, doing their jobs.

As a counterweight to that?



The latter half, the last hour or so?

Sees Cage go into revenge driven mode, turning in a performance of a man in pain, and seeking — justifiable — retaliation for his lover’s death.

That last hour or so is fantastic: making better, much more low key, use of the filters that annoyed me in the first half, made use of light and flame, and using stylised animations of the dead Mandy, inspiring her man to keep going.

AND to show us Cage’s reaction to the dribble of bad acid the bikers used.

To be blunt?

Mandy is very Lynchian: but — in its first half — lacks Lynch’s sense of restraint.


It’s got beautiful imagery, throughout.


And a last hour that is redeemingly good.

Right now?

Right now, I’d have to say, Mandy isn’t perfect.

But Cage, in full swing … ?

Does make Mandy watchable.

Mandy
★★☆☆