Beginners is a film about people making unsure first steps, and occasionally leaps of faith, into unfamiliar territory. Oliver (Ewan McGregor) plays a dispirited graphic designer whose father Hal (Christopher Plummer) has just come out as gay at the age of 75 years. While his father’s second lease of life eventually becomes a source of joy, it’s soon cut short as Hal is diagnosed with terminal cancer. Heartbroken, and left to care for his father’s surprisingly insightful dog (who communicates his wisdom through subtitles), Oliver stumbles into a relationship with French actress Anna (Mélanie Laurent). However, Hal’s memories of his parent’s sterile marriage and Anna’s own father issues hang heavy over their romance. When it comes to actually making a relationship work, they’re both beginners. The film skips nimbly back and forth in time between these two narratives. An inspired move, as this is very much a story about how our past can inform, and sometimes smother, our present.
It’s nice to be reminded that Ewan McGregor can deliver a subtle performance when required, and his chemistry with both co-stars is particularly strong. Meanwhile, Mélanie Laurent manages to a give a lot of life to what could have easily been a limited character in the hands of another. Quickly becoming the highlight of the film though is Christopher Plummer’s carefully judged and utterly believable performance as Hal. Plummer’s smile in particular, a complicated mix of regret and gleeful self-discovery, is genuinely touching. The film quickly elevates from good to great whenever Plummer steps onto the screen and it’s a shame we don’t see even more of him.
Unfortunately the romantic relationship half of the film doesn’t shine quite as brightly. This certainly isn’t the first indie film to fall into the familiar narrative of “sad and disconnected man rescued by life-filled and unpredictable woman”, it’s disappointing to see this cliché crop up yet again. While Oliver and Anna’s romance is frequently touching, it’s also walking a precarious tightrope between charmingly quirky and overly twee. Sadly the film doesn’t always manage to pull this delicate balancing act off.
Another hit and miss balancing act comes in the form of Mike Mills' directing choices; still image slideshows, archive footage - and yes, talking dog subtitles. While I really admire the attempts at playfulness on show here, the effect of these can distract from the emotional core of the film as often as they succeed. Occasional faults aside though, this is a well observed and endearingly performed drama. Just as the film’s characters find themselves caught off guard with the twists life throws at them, the film frequently catches you off guard with surprisingly tender moments that can stay with you for days afterwards. And believe me, I never thought I would use the phrase “surprisingly tender” to describe a film starring Ewan McGregor and a talking dog.