Frank fassbended onto Blu-ray on December 9th from Magnolia.
We wear masks every day, facial expressions to hide our true feelings. We avert our eyes to avoid making contact. For some, this is a severe psychological problem, taken to extremes. For Frank, he has turned his issues with people up to 11, wearing a giant fake head to hide some unknown trauma and construct a barrier between himself and the real world. A physical embodiment of an issue many people suffer from; his music being his only real outlet. An abstract approach to a common problem and a quirky tale ripe for adaptation from real life inspiration.
As a Brit I should note my familiarity with Frank prior to this film, or rather the original Frank Sidebottom, a persona adopted by performer Chris Sievey that was a far more acerbic and confident character than portrayed here. His comedy and social commentary were popular largely in the late 80s and 90s in the UK. A member of Sievey’s band, Jon Ronson, wrote a memoir about his time in the band, which is the basis for the film. Though Frank draws inspiration from other artists struggling with mental illness to create something a little bit different yet still centered around this central facet of Sidebottom’s character: the mask.
THE MOVIE Jon Burroughs (Domhnall Gleeson) is an aspiring musician, meandering down the path of catchy lyrics and overly constructed pop, yet aspiring to more. A chance encounter leads him to playing keyboard for a band so abstract no member is sure how to pronounce their name. The creative force behind the group is the titular Frank (Michael Fassbender) whose work seems more performance art than singer. He is adorned with a giant paper-mache head, on stage, in private, in the shower. At all times he wears this barrier between himself and the real world. Accepted by his band mates due to his genius, Frank leads the band on a retreat to a cabin in Ireland where they will compose their new album. Experimentation with sounds spurs on Jon to try and promote the band via social media leading to an invitation to visit the US. The new found interest in the band combined with Jon’s efforts soon strikes a divisive chord within the group and affects Frank’s mental state. Fractured, the group weighs the choice between creativity and success.
Frank offers up an interesting insight into multiple but connected themes, notably mental illness and artistic expression. The latter in a therapeutic light as an outlet for those suffering. It does not demean nor judge. Frank himself is portrayed as perhaps the most stable of the group at times, except for his wearing a giant paper-mache head. Each member has their own issues which permeate the film with a mild melancholy which is tempered by a dark humor throughout. There is even a mild nod to This Is Spinal Tap with an ongoing suicide issue with keyboard players. The oddball nature of the film makes for a entertaining journey but the layering of these more emotional aspects make for a rather touching experience, one that affirms the place of artistry in our personal well being.
Filmed primarily in Ireland and the US (notably Austin during the SXSW festival), there is an intimate feel, enhanced by the great work of the cast who do well to convince you of their bond in a short space of time. Gleeson does well as the audience conduit, providing insight into a world he is suddenly drawn into. Despite his well meaning intentions wreaking havoc within the group, he manages to craft a lot of empathy for his character who, while passionate about music, is clearly lacking any real talent. This is another great performance added to Gleeson’s body of work (About Time, Black Mirror, Calvary) and it’ll be interesting to see what he brings to Star Wars The Force Awakens. The other notable standout is Maggie Gyllenhaal as a Yoko-esque figure whose cutting remarks and fierce loyalty to Frank make for some of the more emotional and entertaining parts of the film. But, Frank is very much the central figure. Fassbender still crafts a great character, cultish in his magnetism but incredibly fragile too. It’s a bold step for any lead actor to allow their entire face to be covered for much of a performance and he does not allow it to overwhelm his presence.
The film starts strong, the bottled nature of the Irish retreat being perfect for showcasing the film’s talent, displaying the deep issues Frank himself has as well as how it informs his artistic process. When the group hits the road and journeys to the states things become more fractured both narratively and in the level of quality. Perhaps intentional, but by contrast, losing the interplay and creative collaborations built in the first half leaves the film a little lacking later on. Generally the cast embrace the material and overall the film portrays an interesting journey.
Perhaps the biggest misstep of the film is that it does cross the line, showing the man behind the mask and revealing much about his past rather than leaving the mystique to perpetuate. It is a side of American filmmaking that is often employed, the satiation of questions and needing to provide resolution where perhaps none was necessary. Doing so changes the film from a perplexing and charming adventure to something a little more formulaic. But even with such an event, the film retains a powerful message about how delicate genius is and how important artistic expression and integrity can be.
THE PACKAGEThe film shows a sharp transfer, the rustic beauty of the Irish countryside and charms of American cities come across nicely on screen. No noticeable issues with image quality.
Special features wise, there are two audio commentaries, the first with Director Lenny Abrahamson, actor Domhnall Gleeson and music composer Stephen Rennicks. The second from screen writers Jon Ronson and Peter Straughan. Both are interesting in regards to production of the film, the latter being noteworthy for Ronson’s insights into his personal relationship with the real life Frank. In addition to a trailer and a number of deleted scenes, also included is a typical Making Of as well as Sound Promo which gives a brief background on how this aspect of the film was approached.
THE BOTTOM LINEWhile flawed, it’s hard not to love Frank. It is a moving encapsulation of the fragility of a creative mind as well as the healing powers of music and artistry in general. A charming, odd film that doesn’t sustain its early promise but great performances and provoking material make it something very much worth your attention.
