As he always does, Steven Spielberg lets us into his dreams with TheFabelmans, a touching piece of autobiography that confronts the meaning and pain intrinsic to having a calling. JacobOller's review:
, the way to successful communication is a blending of left-brain engineering and right-brain musicality that mirrors Spielberg’s at-odds parents. The insight is sound, as Spielberg acknowledges, but what’s more moving is that the filmmaker didn’t consciously intend it. It just bubbled up, part of his unique cellular composition that gave that film and so many of his others a particular pang of emotional truth in the face of fantasy.
Except for his parents. Mitzi and Burt , the pianist and the computer pioneer. Their separation would influence some of America’s biggest blockbusters, but how they approached their own callings would dig even deeper under their first child’s skin. Williams, often dressed in ethereal whites and always on the cusp of succumbing to the vapors, embodies artistry set aside for family—suppressed in a way that is slowly killing her. Mitzi’s a flashing warning light as red as her fingernails and lips.
pivots, where he discovers that his mother has been hiding an illicit relationship, leaves him as shell-shocked as the star of his Boy Scout war picture. Teary, perpetually hopeless, unable to communicate—or even speak—-Sammy just blearily wanders forward until he’s forced to stop and show his pain. It’s hormonal angst and teenage ineptitude, but it’s more than that. Movies are his language, as depressing and wonderful as it sounds.
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