From the studio that gave us Eighth Grade, Mid90s and Moonlight, comes the unconventionally funny, neo-horror Under The Silver Lake.
Andrew Garfield plays Sam, a slightly creepy and mostly confused thirty-something who is trying to figure out what happened to his neighbour Sarah (Riley Keough). Written and directed by David Robert Mitchell (It Follows), the film is a contemporary approach to noir, with Lynchian, dream-like folklore creatures and myths dotted throughout.
Sam deals with his emotional instability by projecting his heartache onto Sarah’s disappearance despite barely knowing her. He quickly loses himself in the world of hidden meanings within pop culture (music, movies, comics) in hopes of finding an explanation, a purpose. The so-called codes that Sam is attempting to decipher are illusionary and based on little else besides Sam’s own desire for them to exist. As a viewer, you find yourself wanting them to be real too, because maybe then you can keep on living knowing there are things beneath the surface yet to be discovered.
Garfield is terrific in the role and has the right amount of dazed youthfulness to pull it off. One of the funniest moments come in what seems to be an intentional inside joke the director shares with the audience – Garfield’s character wakes up with The Amazing Spider-Man comic book stuck to his hand. It appears Garfield’s superhero days aren’t behind him yet.
Under The Silver Lake is perhaps the most LA movie you’ll see in a while. Sam gets complimented for his white t-shirt at a party as if it’s a statement against the glamorous LA style. At one point, Sam comments on people’s need to know what he does for a living (this is never revealed), as if your work defines you and your worth to others. Superficiality and depth make for a muddy mix and the movie portrays it with noteworthy complexity and balance.
Topher Grace, who plays Sam’s friend, is barely recognisable in the film as he plays a caricature of the archetypical LA hipster. His character manages to coherently sum up the whole film: “we crave mystery because there’s none left”. This is a nod to the Instagram culture, where everyone wants to be seen but is afraid of being watched. Ironically, Grace’s character speaks of this “minor paranoia” while simultaneously spying on a woman using a drone.
Perhaps the most important part of the film is its score. It establishes the noir aesthetic and thrills when paired up with dramatic close ups and intricate camerawork. Under The Silver Lake is not to be missed solely for its sardonic exploration of obsession, fear, and pop culture. A pretty good combination.
Under The Silver Lake is in cinemas from 15 March.
Picture: birthmoviesdeath.com
