Love & Mercy (2014) is an oddly bifurcated biopic of Beach Boys singer Brian Wilson. This approach seems unnecessary, considering that its subject is compelling without any gimmicks.In the 1980s, Brian Wilson (John Cusack) meets Melinda Ledbetter (Elizabeth Banks). Their relationship is complicated not only by Brian's mental state, haunted by hallucinations and paranoia, but Eugene Landy (Paul Giamatti), his domineering therapist. Flashbacks show Wilson (Paul Dano) in the '60s, arguing with his bandmates over whether to continue their commercial career or expand into experimental fare. The resulting album, Pet Sounds, flops, and Wilson grows apart from his bandmates while dementia overcomes him.
Love & Mercy draws on Michael Alan Lerner's biography of Wilson, showing the interplay between musical genius and madness. Wilson's odd from the start, less interested in celebrity than producing great music; his bandmates resent his reluctance to tour as he creates his new albums. Encouraged to continue producing popular hits, he's warned by his manager-dad (Bill Camp) that he's easily replaced if he won't go along. Wilson sticks to his vision, but at a heavy price, turning to drugs and overwhelmed by illness.
Brian Pohlad's direction is assured, recreating some of the Beach Boys' iconic concerts and footage before diving into more personalized touch. He effectively captures Wilson's fragmented mind, both through physical distance and a whirring soundscape of musical lyrics, shouted abuse and clanking silverware. He effectively captures the process of musical creation, with bandmates arguing over sound and lyrics, musicians contributing their own touches.
I'm puzzling over Love & Mercy's split narrative. Both storylines work independently, yet they don't really work together. Pohlad doesn't use them to comment on one another; young Wilson's already experiencing hallucinations and there isn't enough of his success to contrast with his fall. Another flaw is that the '80s scenes don't sell Melinda's affection for Brian. They have a Meet Creepy in a car dealership and fall in love. Though Melinda's battle with Landy gives filmmakers a dramatic out, it's underwhelming.
Paul Dano is effective capturing Wilson's brilliance, playful daffiness and encroaching madness in equal measure. John Cusack is straightjacketed by his Brian, requiring him to be somnolent and harried. Paul Giamatti's glad-handing creep is an easy but compelling villain. Elizabeth Banks is likeable, determined and flat.
Love & Mercy would have been better if it settled on one of its plotlines. It's still an entertaining film that does its subject justice.
