In classic, reticent English fashion,
“Still Life” does a lot with a little. It's what we call a
little gem of a film, where even the colors are subdued, and, much
like the Michael Haneke films “The White Ribbon” and “Amour,”
a hushed tone doesn't mean a lack of passion.
“Still Life” is the character study
of a council worker named John May (Eddie Marsan of “The World's
End”), who has the job of finding a person's next of kin after
they've passed away. When none can
be found or refuse to make an appearance, he attends and
oversees the funerals himself, often taking care of such details as
writing the eulogy and even choosing the music that's played. He is
devoted to his work and investigates each case thoroughly and
exhaustively. It's remarkable to see, yet understandable, since he
has much in common with
the lonely people he devotes his time to: he lives a very solitary
life himself, with no friends or family that we see.
May is not only the focus and center,
he embodies the film's beliefs, its tone, its quiet stoicism that
does what it believes is right and decent and tries to persuade
others to do the same. But the outer world does not share his
concerns, and he is told that his current case will be his last.
It's a fitting finale, seeing how the now-deceased man lived right
across from him, and the high personal and professional stakes make
May more determined than ever that some friends or family must attend
the last funeral he will ever devote himself to.
While sharing a similar tone to the
aforementioned Haneke films, “Still Life” could also be seen as a
more agnostic companion to the film “Calvary,”
wherein Brendan Gleeson played a Catholic priest. Both films serve
as a profound, moving meditation on death and our views of and
rituals around it, as well as the lack of reverence today's world has
for it in the rush for money
and cutting costs. In their own ways, both argue that the lack of
appreciation has profound consequences for the living, and sooner or
later leads to a devaluation of them as well.
May knows he can't stem this tide, but
he refuses to allow his efforts to become meaningless. Remarkably,
“Still Life” never gives in to pity or maudlin displays. Its
message is that of respect
and empathy. Yet the movie refuses to turn away from the tragic
emptiness that life can bring. May's efforts and the subsequent
fruits of his labors unfold in a slow burn that culminates into one
of the most touching and beautiful final scenes that I have ever seen
on film. It's powerful enough that it actually upsets me that “Still
Life” doesn't have its own Wikipedia page. Something this
perfectly executed should have more of an audience.
Grade: A+
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