Guess what really moves me enough to make me want to initiate change in my lifestyle? True problems discussed in realistic motion pictures. A fine example:
Tully says motherhood means the individual lets her physical form swell to the point where she can’t jog full speed without facing breast leaks. It is an effective little sample of passionate cinematic artists utilizing so much from so little, driven by the work of Oscar winner Diablo Cody (Juno), especially once their efforts early on breathe out an abrupt post-maternity mundaneness montage that reveal how much work it is caring for a newborn.
I particularly want to thank Charlize Theron–she reportedly put on 50 lbs. for the role, a level of commitment matching some of film history’s most iconic performances: Robert De Niro in Raging Bull, Tom Hanks in Cast Away, and Charlize Theron again in Monster. Her red-eyed exhaustion snapping into outbursts paid off big time.
Charlize plays the main mom, Marlo, alongside Mackenzie Davis (night nanny Tully), a natural chemistry between them built to improve her suffering persona. While Charlize resembles the real helpless baby, Mackenzie flaunts her huge giddy smile in sweet contrast like your favorite babysitter. Both remarkable women bear the explicitly different burden of portraying a common difficulty to miraculous success.
In fact, the entire cast contributes a feel of unimaginable pain: The actress playing the teacher of Marlo’s son especially plays well off Charlize during their few moments together. Ron Livingston as Marlo’s husband, Drew, starts off passive then gradually looks conflicted after Marlo’s condition eventually hits his inattentive attitude.
I find such movies important because they show hospitality, whether under employment or free-will, turning far more important than we realize. Based on my own experience, I know a couple who spent years seeking out adoption; just when all hope almost left the plan, someone finally chose them to raise her newborn! Unfortunately enough though, they baby was born a mere few weeks before the wife got cancer. I, a twenty-five-year-old single man, cannot imagine this family’s pain, although still heard plenty of stories about their simultaneous major life changes, thus, made them breakfast one morning to make one day a little easier for the parents and kids.
That happened several months ago, yet still connects back to Tully‘s mission statement: However you can help another during times of great demand, do it. The weight of actions may surpass your knowledge, but all kindness lasts forever, like how a mentor teaching a child will last an entire career.
Though be warned: the horrific aspects of a beautiful new life depicted here can unintentionally scare you out of any desire to start a family, mainly because the focus is too much on the baby and not as much on Marlo’s daughter, Sarah, who could’ve been written out easy—she does nothing important. Likewise, Marlo’s sister-in-law also does nothing important, aside from being there beside her husband’s night nanny recommendation. Back to Marlo, she watches a gigolo program on late nights, as if a parent can freely watch porn while caressing her newborn, consequently ruining most of the sympathetic appeal that would’ve made Marlo a better written character.
Now, within the script’s other written endeavors, it succeeds. The details of this work imitate when one gear of a machine breaks loose, causing the entire mechanism’s demise. Through focusing on displayed cookies to open a café scene, Marlo’s contemplative diet habits throughout pregnancy affects her coffee order decision. Right upon meeting Marlo’s son, Jonah, she softly scrubs his entire body, then later he screams over which parking spot mom should take. She is unaided by Drew, who retreats into the bedroom at night on a post-work gaming headset like a captain on helm of his ship, Marlo left to swab the deck.
Numerous sequences can sum up how it feels to watch Tully: an apparently single melodic dream of a mermaid swimming far away, its blue highlighter hue contrasting the almost always tungsten tinted image, accurate to tranquility. The visual effects team crafted an ever-graceful digital mermaid; despite those surreal underwater views, its right-there-next-to-them atmosphere never loses itself.
In the end, thanks to everyone involved, Marlo becomes a grand woman empowerment figure in how she dawns decorative makeup to conceal her veins. She proves how this reflective experience ultimately submerges you inside an inadvertent chaotic reality until an angel pulls you out to transport self-peace.
If there is a specific movie you’d like to see graded, or if you are interested in guest blogging for my site, please email me at Trevor@TrevorsViewOnHollywood.com for your recommendations.
Have a great weekend, and happy watching!
Gleiberman, Owen. “Sundance Film Review: Charlize Theron in ‘Tully’.” Digital image. Variety. WordPress, 25 Jan 2018. Web. <http://variety.com/2018/film/reviews/tully-review-charlize-theron-1202676646/>.
“Red for Ed.” Educational Foundation of Lake County. Web. <http://edfoundationlake.com/red-for-ed/>.
“Tully.” Baby Name Wizard. CMI Marketing Inc. Web. <http://www.babynamewizard.com/baby-name/girl/tully>.
Tully. Focus Features. Web. <http://focusfeatures.com/tully>.
Williams, Zoe. “Charlize Theron is being called ‘brave’ for gaining weight for a role – here’s why that’s a problem.” The Guardian. Media Limited, 7 May 2018. Web. <https://www.theguardian.com/lifeandstyle/2018/may/07/charlize-theron-is-being-called-brave-for-gaining-weight-for-a-role-heres-why-thats-a-problem>.