The film revolves around a 16-year old kid as he helps a horse owner in getting horses for a race where the kid befriends a horse named Lean on Pete as he deals with the horse’s declining health and the idea that he might be slaughtered. It’s a film that explores a young man trying to find some stability in his home life but also something to be attached to as he lives in Portland with his absentee father and doesn’t have much of a future until he helps a horse owner who gives him a job. Andrew Haigh’s screenplay is largely straightforward in its narrative as it’s more of a coming-of-age story for the 16-year old Charley Thompson (Charlie Plummer) who lives with his dad Ray (Travis Fimmel) who is having an affair with a married woman that would later have dire consequences involving her husband. Charley would help the aging horse trainer Del Montgomery (Steve Buscemi) who is dealing with declining funds as well as horses who aren’t delivering including Lean on Pete who could only do quarter-mile races.
While a jockey in Bonnie (Chloe Sevigny) understands Charley’s growing attachment to Lean on Pete, she warned him to not get too close as the horse’s health is starting to fail forcing Montgomery to sell him and possibly to Mexico where he would be slaughtered. The film’s second act is about what Charley’s actions as it relates to the horse and what he hopes to do in trying to find his estranged aunt Margy (Alison Elliott) whom he hadn’t seen in years. It would be this moment that play into Charley’s own sense of loss and alienation as well as a world that is really complicated as he would encounter various people including a couple of former soldiers and a homeless couple as it would play into is view of the world.
Haigh’s direction is entrancing for not just the scope of the locations as it is shot on various locations around Portland, Oregon but also to capture the look of the American West that does feel disconnected from the rest of the world. The usage of wide and medium shots do play into the events that Charley encounters in the second act with Lean on Pete as it play into the journey these two would take. Haigh still infuses some intimacy that include close-ups as well as what Charley sees during the horse races along with these moments that play into his own sense of despair when he deals with reality. There are also these scenes that do feel loose such as a conversation Montgomery is having with other owners about changing times and how simple things were back in the 80s and 90s for the world of horse racing along with a scene in the bar where everyone is drunk while Charley wants to talk both to Bonnie and Montgomery. Haigh also presents scenes where there aren’t much dialogue or scenes that has Charley talking to the horse as it help play into this young man dealing with reality that is hard to digest. Even in its third act as he copes with the people he encounter and his own actions knowing he has made decisions that would put him in trouble yet is seeking to find some hope in a cruel world. Overall, Haigh crafts an evocative and intoxicating film about a 16-year old boy befriending an ailing race horse.
Cinematographer Magnus Joenck does amazing work with the film’s cinematography with its usage of available and low-key lighting for the scenes set at night as well as natural lighting for the scenes set in the day. Editor Jonathan Alberts does excellent work with the editing as it is largely straightforward with a few jump-cuts for a few dramatic moments as well as a few transitional dissolves. Production designer Ryan Warren Smith, with set decorator Jenelle Giordano and art director Jonny Fenix, does fantastic work with the look of the home that Charley lived in as well as a stable room where Charley stayed with Lean on Pete living next door and a trailer where Charley meets a homeless couple. Costume designer Julie Carnahan does nice work with the costumes as it is mostly casual to play into the look of the American West that include trucker hats, skinny jeans for the women, and other clothes that play into that world.
Visual effects supervisor Fred Ruff does terrific work with some of the film’s minimal visual effects as it play into a key scene in the film along with bits of set-dressing for the horse race scenes. Sound editor Joakim Sundstrom does brilliant work with the sound as it play into the atmosphere of the locations as well as the way some of the sparse moments in the film occur as it’s a highlight of the film. The film’s music by James Edward Barker is wonderful for its understated country-folk based score as it play into the drama while being low-key while music supervisor Connie Farr provides a soundtrack that is mostly diegetic as it’s played on location as it features pieces from Melissa Manchester, Melinda Salcido, Alih Jey, Lluvia Rosa, Jeannie Seely, Roy Drusky and Priscilla Hubbard, Faron Young, Larry Dean and Jonathan Sloan, Donnie Owens, Jeannie C. Riley, Sanford Clark, Brendan McKinney, Eddie M, Brandon Flowers, Selena Gomez, Tegan & Sara, Jessie Ware, Limb, Cut Yourself in Half, Will Oldham, Richmond Fontaine, Vic De Leon, and Donovan.
The casting by Carmen Cuba does superb work as it feature some notable small roles from Tolo Tuitele as Lynn’s husband who attacks Ray, Bob Olin as an old man in Mr. Kendall that Charley eats dinner with, Teyah Hartley as Mr. Kendall’s daughter Laurie whom he verbally abuses at, Justin Rain and Lewis Pullman in their respective as a couple of military veterans in Mike and Dallas who take Charley and Pete in for a bit, Steve Zahn and Rachael Perrell Fosket as a homeless couple that allow Charley to be with them for a bit, Amy Seimetz as Ray’s married girlfriend Lynn, Travis Fimmel as Charley’s absentee yet well-meaning father Ray, and Alison Elliott as Charley’s estranged aunt Margy who appears late in the film. Chloe Sevigny is brilliant as the jockey Bonnie as someone who is kinder to Charley but also warns him about becoming too attached to Lean on Pete as she also tells him about the reality he has to face.
Steve Buscemi is amazing as Del Montgomery as an aging horse trainer who has been through a lot and is a cynical person yet does give Charley a few life lessons but also appreciates the work that Charley puts through. Finally, there’s Charlie Plummer in an incredible performance as Charley Thompson as a 16-year old kid who is dealing with instability in his life where he then works in the stables and befriends this horse as he becomes attached to this horse while dealing with the reality that the horse has to face. Plummer brings this anguish and angst to the role that is understated but also someone who knows he is way over his head in what he’s trying to do while hoping to find a world that he can call home and with the horse he’s grown to love.
Lean on Pete is a phenomenal film from Andrew Haigh that features a great leading performance from Charlie Plummer. Along with its supporting cast, gorgeous visuals and locations, enchanting sound work, and its themes of growing pains and search for stability in a cruel world. The film is definitely a coming-of-age film that plays into a boy’s fascination towards a race horse and his hope to help this horse. In the end, Lean on Pete is a sensational film from Andrew Haigh.
Andrew Haigh Films: (Greek Pete) – Weekend (2011 film)
- 45 Years
© thevoid99 2021
Based on the short story In Another Country by David Constantine, 45 Years is the story of a couple who is about to celebrate their 45th wedding anniversary when they learn about a discovery that would shake up the celebration. Written for the screen and directed by Andrew Haigh, the film is an exploration of a couple whose anniversary becomes marred by a revelation from the past as they question about their own marriage as it‘s told in the span of six days. Starring Charlotte Rampling and Tom Courtenay. 45 Years is a powerful and eerie film from Andrew Haigh.
It’s six days away from the celebration of the 45th wedding anniversary for Geoff and Kate Mercer (Tom Courtenay and Charlotte Rampling, respectively) as they prepare for a monumental event that had been delayed for five years due to the former’s health. Yet, Geoff receives a letter that revealed that the body of his former fiance` has been found inside a glacier in the Swiss Alps as it lead to some revelations about their relationship. It’s a film that follows the life of a couple who are becoming undone by this news as they try to keep their lives going as well as celebrate their 45th wedding anniversary as it is told from Monday to Saturday as the last day is the night of their anniversary party. In the course of these six days, writer/director Andrew Haigh creates a story that explores the life of Geoff and Kate Mercer where they live in British countryside near the town of Norfolk as they’re just like any normal couple. Then came this letter as it is a slow unraveling of the two where Geoff becomes more secretive as well as reveal a lot about his time with his old flame while Kate becomes uneasy and suspicious about aspects of Geoff’s life that she doesn’t know about.
Haigh’s direction is actually quite simple in terms of the compositions yet it has a lot of long takes to play into the drama that is happening. The usage of the wide and medium shots doesn’t just play into the locations as it is shot on location in Norfolk but it’s also in these moments inside the home and at some of the social gatherings where Haigh captures that sense of intimacy as well as use the close-ups for scenes between Geoff and Kate. Haigh’s approach to long takes definitely showcase what is going on as well as how Geoff and Kate interact whether it’s them having dinner, listening to music, or in bed. It is about these two people as equals yet as the film progresses, there are moments where Geoff is dominating the frame with Kate listening off screen or Kate feeling slighted with Geoff at the edge of the frame.
Notably as Haigh maintains something that is quiet but also build up this air of tension that ultimately climaxes with the final sequence that is the anniversary party. It’s a sequence where so much has been revealed as it’s about Geoff and Kate trying to maintain some composure for their guests but there’s an uncertainty into what will happen to them next. Especially as it is an emotional climax but told in a very restrained manner. Overall, Haigh creates a rapturous yet engrossing film about a couple’s 45th wedding anniversary threatened by revelations of the past.
Cinematographer Lol Crawley does excellent work with the cinematography as it is largely natural to play into the colorful yet foggy exterior shots in the day as well as some low-key lighting for the scenes set at night. Editor Jonathan Alberts does brilliant work with the editing as it is largely straightforward with some rhythmic cuts for the drama as it maintains the long takes that are presented. Production designer Sarah Finlay does nice work with the look of the home that Geoff and Kate live in as well as a few of its surroundings including the climatic anniversary party. Costume designer Suzie Harman does terrific work with the costumes as it is mostly casual with the exception of the fancy clothes for the anniversary party.
Hair/makeup designer Nicole Stafford does wonderful work with the look of the main characters in their elder state as it plays to the naturalness of the film. Sound editor Joakim Sundstrom does superb work with the sound as it largely natural with not much emphasis to create something artificial while much of the music in the film is played on location. Music supervisor Connie Farr does fantastic work with the soundtrack as it largely features music from the past such as Dusty Springfield, the Platters, the Moody Blues, the Turtles, Lulu, Lee Hazlewood, Aaron Neville, Stagger Lee, Gary Puckett and the Union Gap, and some classical pieces from Carl Maria von Weber, Edvard Grieg, Franz Liszt, and Wolfgang Amadeus Mozart.
The casting by Kahleen Crawford is amazing as it features notable small roles and appearances from Dolly Wells as family friend Charlotte, Sam Alexander as a former student of Kate in the postman Chris, Richard Cunningham as the party organizer Mr. Watkins, David Sibley as longtime friend George, and Geraldine James as another longtime friend in Lena who asks Kate about Geoff’s suddenly odd behavior. Tom Courtenay is incredible as Geoff as this man who becomes haunted by the news about his former fiance` as he ponders about a lot of things of how his life could’ve been but also hiding some secrets he doesn’t want to share with Kate. Finally, there’s Charlotte Rampling in a phenomenal performance as Kate Mercer as a woman who is haunted by the news of what her husband has found as she tries to remain distant only to ponder if she was really the one for Geoff as it’s a performance of great restraint that is also devastating to watch.
45 Years is a tremendous film from Andrew Haigh that features sensational performances from Charlotte Rampling and Tom Courtenay. It’s a film that explores love at its most enduring but also ponder many questions about if that person was right for this one as well as the many complexities that goes on in a relationship. In the end, 45 Years is a spectacular film from Andrew Haigh.
Andrew Haigh Films: (Greek Pete) - Weekend (2011 film) - Lean on Pete
© thevoid99 2016
Written, edited, and directed by Andrew Haigh, Weekend is the story of two men who meet at a gay club where they have a one-night stand as it expands into a weekend together before one has to leave to go to the U.S. for a few years. The film is an exploration into the world of homosexuality set in the English Midlands as it revolves around the lives of these two men. Starring Tom Cullen and Chris New. Weekend is a low-key yet evocative film from Andrew Haigh.
The film is essentially about this man named Russell (Tom Cullen) who goes to a gay club one night where he meets this man named Glen (Chris New) as they have a one-night stand that expands into a weekend together as Glen is set to leave to attend a two-year art course in Portland, Oregon. During their time together, the two talk about homosexual relationships as Russell dwells on the fact that he never knew his parents while Glen is still reeling from a breakup he had just gone through. All of this in the course of one weekend where the two forge a moment that neither men will never forget. That is simply the premise of a film that doesn’t play into the conventions of most relationship films in order to find some sort of realism.
Andrew Haigh’s screenplay doesn’t really have much of a structure as it is carried mostly by dialogue where it’s about these two men and their different lives as one of them is unsure about having a homosexual relationship while another is having a hard time about coming out. The dialogue also reveals the world of homosexual relationships where there’s still places where it doesn’t seem to be accepted as both men definitely have issues with being more open but also don’t want to go into heartbreak. Yet, they’re drawn to each other for the fact that they have something to offer that was different from anything they’ve been through. Even though relationship lasts a weekend, it becomes one that has both men finding some kind of hope into the world.
Haigh’s direction is told in a minimalist, cinema verite style where it is presented with hand-held cameras and is shot in various locations in Nottingham. Haigh creates something that is very engaging in the way he presents the relationship from the scenes at Nottingham to the more intimate moments at Russell’s apartment. The direction as well as Haigh’s low-key yet stylish editing help plays out the drama that unfolds throughout the film such as a scene where the two have a heated discussion about relationships as well as the fact that Glen is leaving to go to the U.S. for a few years. Yet, Haigh manages to find a way for the film to end on a high note without delving into clichés as the overall work is truly sensational as well as keeping it simple to create something is honest and direct.
Cinematographer Ula Pontikos does amazing work with the film‘s very stylish and naturalistic photography from the gorgeous look of the skylines and nighttime exterior scenes to the more simplistic moments in its daytime scenes. Production designer Sarah Finlay does nice work with the look of Russell‘s apartment to display the world that he lives in. The sound work of Tim Barker is wonderful for the intimacy that is created in the apartment scenes to the more raucous moments in its various locations including the fair where the two ride bumper cars. The film’s soundtrack largely consists of different kinds of music from house to folk as it’s mostly played on location.
The casting by Kahleen Crawford is brilliant for the small ensemble that is created as it features some noteworthy small performances from Jonathan Race as Russell’s friend Jamie and Laura Freeman as Glen’s friend Jill. Finally, there’s the duo of Tom Cullen and Chris New in their respective roles as Russell and Glen. Cullen and New each display marvelous performances as two men that don’t want to be defined but also not want to feel lost as Cullen displays a more low-key yet charming performance while New is more aggressive and humorous in his role as both men are really the highlight of the film.
Weekend is an extraordinary film from Andrew Haigh that features the superb performances of Tom Cullen and Chris New. The film is definitely a romantic film that doesn’t play into conventions while providing something that feels new and also real. It’s also a film that finally gives the homosexual love story something that is engaging without going into heavy drama. In the end, Weekend is a remarkable film from Andrew Haigh.
Andrew Haigh Films: (Greek Pete) - 45 Years - Lean on Pete
© thevoid99 2012
