James White isn’t a bad person.
But that doesn’t mean he’s a good person either. James White, the eponymous protagonist of Josh Mond’s drama James White, is, like most of the characters, extremely flawed. He tries and tries to do the right things, the things that are best for him, his friends, and his mother, but somehow never seems to be able to hit the mark.
James White is a journey of self-destruction interrupted. As the film opens, we see James (Christopher Abbott) partying at a club. But something seems wrong. He’s not present. Instead of listening to the music, he’s got his earbuds in, Billie Holiday blasting in his ears. We get the sense he could stay there all night, but when he gets a seemingly urgent phone call, he leaves. That’s when we discover that he has indeed stayed there all night. James hitches a taxi to the apartment of Gail White (Cynthia Nixon), his mother. When he enters, the living room is crowded with people dressed in formal black, a sharp contrast to James’s black hoodie. We quickly discover that he’s late to his father’s wake. Not that he cares much. His father left when he was young. James is more concerned with his mother’s well being.
The next day, it is revealed that James’s mother is struggling with cancer. James, meanwhile, continues to be a mess, constantly drunk and getting into trouble. Even his best friend, Nick (Scott Mescudi) isn’t able to save him from himself. Finally, James can’t take it. He decides to go to Mexico to find himself, to get his life together. He says he’s going to take time — he’s not going to drink; he’s not going to do drugs; he’s going to relax and write. While he’s in Mexico, however, his mother gets worse. He catches the first flight home, and James embarks on a different journey of self-discovery, one much more difficult and painful. It is here the main action of the film begins: James is thrown into something he could never be prepared for — caring for the only one who raised her in her dying days.
James White is not an easy film to watch. It’s profoundly effective and heart-wrenching, not your traditional feel-good coming-of-age film, where the characters face hardships and obstacles which are ultimately trivial in the grand scheme of things and everything turns out for the better. This movie shows the true hardships of growing into adulthood. It’s not easy, and things don’t always end up okay; that’s just not how life works.
Each one of the cast members creates impeccably performances which are multi-dimensional and truly affecting, showing the depths of humanity — good, bad, and everywhere in between — as the characters struggle just to make it through each day.
The performances are captured with stark grace by writer/director Josh Mond and cinematographer Mátyás Erdély. Shot in a verite style, the film is extremely grounded in a reality only slightly stylized to show the emotional turmoil of the characters, with stark lighting that doesn’t try to put a nice coat of paint on the proceedings. The takes in the film are long — painfully long. “Painfully” here doesn’t mean bad; it means it makes each scene incredibly difficult to watch. The camera gets close and personal, frequently focusing on faces, hardly cutting away to new shots and angles. The film tries as hard as it can to not betray the fact that it is a film, and to tremendous effect. The long takes let the actors act, and force the audience to be present in each raw and agonizing moment.
Just about everything about James White works. Material such as the stuff this film deals with can be very easy to mess up and turned into a “movie of the week.” James White avoids all of these pitfalls thanks to its unwavering commitment to honesty from all involved. A top-notch script, breathtaking performances, and astonishing artistry behind the camera all combine to create a film that, while difficult to watch, particularly for those who have suffered through the failing health of a loved one, is absolutely essential viewing, and shows the power and emotional effect good cinema can have.
The film is now playing!
