Daniel Day-Lewis is among the most revered actors of all time. Yet it’s ironic that he constantly warns of a threat. While we can accept that he’s an 18th-century action hero, or a pretentious tailor, or even Abraham Lincoln, after so many years and repeated false alarms, we no longer believe Daniel Day-Lewis will ever step away from acting. That’s the only performance he’s ever given that felt insincere.
It has been eight years sinceDaniel Day-LewisRepeatedly asserting, for the hundredth time, that he was taking his talent and returning home. However, he has now come back for more in “Anemone,” a film he co-wrote with his own son, Ronan Day-Lewis. The younger Day-Lewis also served as director of the film, making it tempting to interpret this as a generational super-narrative. Particularly since “Anemone” revolves around attempting to bring a reclusive man back into the world he abandoned, and for his son’s sake, no less. If these connections between real life and the film are not deliberate, then we can only say, the human subconscious has struck once again.
“Anemone” features Sean Bean as Jem Stoker, a man who departs from his home, his struggling wife, and his difficult teenage son to explore the woods of Ireland. He is searching for his brother, Ray, who left his family following a devastating event. It’s possible Ray is a murderer, or perhaps he’s simply a poor father. “Anemone” doesn’t reveal much early on, keeping Jem and Ray isolated in a forested void for several days, with minimal conversation except to prevent talking, and occasionally getting drunk and letting all their issues come to light.
We soon discover that Jem has been caring for Ray’s son Brian (Samuel Bottomley), who is facing significant challenges. Jem married Ray’s former lover, Nessa (Samantha Morton), but Ray’s past continues to weigh heavily on Brian, and Jem feels only Ray can help resolve the situation. However, for this to happen, Ray must leave his voluntary isolation, something he is unable to do.
Ronan Day-Lewis directs “Anemone” with an unusual lack of focus on plot progression. It’s not that the film is primarily a two-person story set in a cabin in the woods, which gives it a close-knit, black box theater feel. It’s that he seems oddly uninterested in showing these two characters conversing, even though that’s what the audience is expecting. We’re seeing Daniel Day-Lewis back on the big screen, performing opposite the talented but often overlooked Sean Bean, in a family-oriented drama exploring themes of guilt and sorrow, yet these two men are quiet and reluctant, if not entirely unwilling, to emphasize their points. Jem displays a near-superior tolerance for Ray, as this entire week-long journey into painful memories could have been condensed into 30 seconds, had Ray not been as stubborn as a mule.
When they do speak, Jem and Ray reflect on their abusive father, their traumatic experiences within the Catholic Church, and their terrifying memories of The Troubles. Ray has withdrawn from life because he’s unable to exist in the present, and the past frequently returns to torment him. Ronan Day-Lewis brings a talent for dark hallucinations, which risk disrupting the film with their unsettling abruptness, but it’s evident what we’re truly witnessing here. The unstoppable desire to remain rooted, to dwell in the past, to escape the present and reject the future. “Anemone” is a movie about purgatory, perhaps even in a literal sense. Ray is caught between two realities, and Jem has arrived to help him emerge or, if necessary, give him a strong, painful shove. It isn’t dull or sluggish. It’s captivating and, appropriately for moments of depression, feels overwhelming and endless.
I’m certain the distributor of “Anemone” would be thrilled to announce “Daniel Day-Lewis is back, baby!” with celebration and fanfare, but this film explores why he remains away, and he’ll likely leave us once more. Living in the real world drains Ray significantly, and acting seems to drain this particular actor as well. Therefore, when we watch him deliver extended, dramatic monologues on death and child abuse, it feels as though we’re witnessing him inflict pain upon himself. We are all Jem, pulling a man from limbo. Perhaps we have justifications, but that doesn’t make it any less difficult for this poor, intriguing soul who keeps going through the ringer.
Alternatively, maybe it’s difficult to fully grasp the essence of “Anemone” without a deep understanding, or personal experience with the Northern Ireland conflict. I don’t claim to be an expert, I’ll admit, but the emotional depth of “Anemone” shines through in any setting. Sean Bean and Samantha Morton portray their own inner struggles, and their unavoidable bond with a man seeking to cut all connections is truly tragic. It’s a remarkable performance for all involved, not just the actor whose presence alone draws attention.
So Daniel Day-Lewis can shout “wolf” as much as he wants. We never trust him, except when he’s performing. And he’s delivering a powerful performance in “Anemone.” It might be unusual and self-contained, but it’s clearly deliberate. Even the obviousness seems authentic. He really is hefty. He’s our sibling.
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