Director: Scott Cooper
Novel: Thomas Cobb
Screenplay: Scott Cooper
Producers: T-Bone Burnett, Judy Cairo, Rob Carliner, Scott Cooper, Robert Duvall
Starring: Jeff Bridges, Maggie Gyllenhaal, Jack Nation, Colin Farrell, Robert Duvall
MPAA Rating: R
Running time: 112 min.

(4/5)

Not having read any other reviews for Crazy Heart at all yet, I’ve got a million dollars that says about 90% of them make reference to either 2008′s The Wrestler or in some way invokes the name of “His Dudeness.” Either of these comparisons are perfectly fair, though not altogether negative; at least not for this reviewer. Some will argue that the novel from which Crazy Heart is adapted, was released over two decade before Aronofsky’s The Wrestler even existed; but nonetheless, cinephiles are going to see an astonishing performance from Jeff Bridges and recognize that they saw this exact same story last year portrayed by Mickey Rourke. Though I don’t necessarily fall on the side of arguing that that is a bad thing, it is a little distracting once in a while with its obviousness.

Bridges is Bad Blake; a broke, traveling musician who roams from town to town playing tiny venues to aging, but adoring fans of his country music. We soon find that Blake is suffering from alcoholism and it’s beginning to effect not only his profession but also his personal life. It’s clear his past is troubled and layers are slowly removed as the film wears on to slowly reveal what those troubles are. Relationships have always seemed to be a problem for Blake, but after meeting a young journalist (Gyllenhaal) during an interview, he finds himself smitten with this single mother and so begins a rocky and likely doomed relationship. Over rocks and bumps, Blake continues to spiral downwards and the proverbial (and literal) scrapes Blake inflicts upon himself begin to get deeper and more severe; eventually inadvertently cutting others, even the ones he claims to love.

So again, the comparisons with The Wrestler are unavoidable. Blake is an aging has-been who is broke but still touring with his act in an old, broken down vehicle and making ends meet where he can. He’s struggling with substance abuse as a result of (and maybe because of) his relationship with his offspring being troubled at best and downright neglectful at worst. He meets a young woman who happens to be a single mother of a young boy and though they care about each other very much and Blake bonds immediately with the son, the obstacles in the road may be just too much for them to overcome and for their relationship to persevere. Because it’s Jeff Bridges as a substance abusing rock star with long hair, it’s hard not to see a little bit of The Dude effect, twenty years later.

Apparently Bridges originally turned down the role of Bad Blake due to the fact that there was no music attached to the screenplay. A year later, when offered the part again, this time with musical guru and producer, T-Bone Burnett fully embedded in the production, Bridges accepted enthusiastically. It’s easy to see why with the finished product. Many of the musical numbers are performed in their entirety and played (some live) by Bridges (and at times, co-star Colin Farrell) himself. It’s interesting to note that I drew a little bit of a Walk the Line vibe during some of these performances, only to find out later that Burnett oversaw the musical numbers for that movie as well as The Big Lebowski. So the tie-ins and comparisons are not all that coincidental after all.

The movie really flows well as we watch Blake’s life slide further and further into depravity, unease and sadness. Some of the circumstances towards the end with which Blake is faced do seem to be forced just a little bit and a little too convenient (or inconvenient for him) in order for the story to progress. It’s a minor gripe and one that actually has a realistic and believable outcome even if it’s one the audience might not be so happy about – which actually keeps the movie further away from typical Hollywood fare and more power to it for that.

I can see a lot of the resonance that I felt during the movie wearing thin for a lot of people. As somewhat of a musician or at the very least someone interested in the music scene/culture, this sort of tangible look at the consequences of indulging in that world were delightfully depressing. One of the best bits of dialogue from the film is actually one of the lyrics to a popular song within: “Funny how falling feels like flying… for a little while.” Heavy handed? Maybe, but also relevant, poignant and cleverly written and epitomizes Blake’s past and even some of his present. Still, a lot of the messages and point by point story line is nothing we haven’t seen a million times before. Like I said though, because of the way the film is constructed, I don’t care. I loved the interactions and watching these actors do what they do best with well written dialogue, circumstances and locale. And while these are serious roles and characterizations, the actors still seem to be hamming it up just a little bit. And I say that with the best possible connotation and intent – and partly for lack of a better term.

Jeff Bridges’ Golden Globe win for best male performance in a drama is no fluke. It’s a magnificent portrayal and likely the only thing that will keep this movie resonating for a lot of people. Watch for him to repeat his acceptance speech come Oscar time and good on him for it. He delivered wonderfully and if there’s an actor out there that’s paid his dues and is deserving, it’s Mr. Bridges. Take The Dude out of a comedy and see where he’s realistically at 20 years later and this is likely the character you’re going to get (had he played guitar instead of bowling). An interesting character for Bridges and the only thing making it lesser than Rourke’s of last year might be the lack of meta for the actor.

Not the most original screenplay on the year and certainly not the best, but the drama is laid out well and realistically. The films looks great and flows nicely if only because of the great performance given by Bridges. The musicianship throughout can’t do anything but help the film and if you’re fan of music (ala Walk the Line style) there shouldn’t be any reason why you can’t get on board and roll with the punches this film delivers; even if they are a bit on the derivative side.