“Crazy Heart,” now playing at Amherst Cinema, seems at first to be just another average character study of a country musician down on his luck. But give it a little time to simmer and the subtlety of its unique flavor begins to seep through, lending to it a sophistication and depth often absent from this sort of story. Even for the many who find country music deterrent, “Crazy Heart” is undeniably a window into a very specific American world.
Jeff Bridges is a brilliant though routinely underrated actor. In his role as Bad Blake, a washed-up alcoholic of a seminal country singer, he showcases the dedication to believability which makes him great. As such, it comes as no surprise to see him finally claim the Best Actor Oscar award, which had eluded him for years, for his sobering portrayal of a man on the bottom. Let’s not mince words; Bridges’ performance transcended the role he was given and the film it was a part of, catapulting “Crazy Heart” from genre-film to critical acclaim.
Bridges’ genius is in the detail of his physical acting, with which he creates a character that no amount of emotionally charged dialogue could show. It is the little things, like how he picks up the chain of the lock on his hotel room door only to drop it again, or how he grasps the bottle of tequila before waking up, which convince us Bad Blake isn’t just a character, but a real person. Sure, Blake might be the quintessential drunk, but it is moments like these that an antisocial, distracted man emerges from the whiskey mist to give a reason for the drinking. It is how he interacts with the set and not the script which makes his character truly human, giving us a reason to pity him and hope for a turnaround.
Joining Bridges in the film is Maggie Gyllenhaal, who plays Jean Craddock, a single mother and journalist who begins a torrid romance with Bad Blake over the course of interviewing him for a journalism piece. She plays the role in a fashion deserving of her Best Supporting Actress nomination by providing a perfect contrast to the reprehensible Blake with her balanced and compassionate character. Also showing his face is Colin Farrell, as the much more successful protégé of Blake, who, having acquired fame, requires Blake’s superior song-writing to maintain his career. Farrell plays a surprisingly good country musician, for once taking on a role in which he isn’t completely unlikable. It is quite possibly a sign that Farrell is maturing as an actor, seeking out roles that will challenge his abilities and diversify his image.
The acting isn’t the only thing done well in “Crazy Heart,” as its Oscar for Best Original Song will attest to. Though not for those without a taste for country music, “The Weary Kind” is a song which will at least have you wishing Toby Keith and his ilk could produce songs which sound like this; it would certainly alleviate the pain of hitting the country station while scanning the radio. But musical taste aside, it is the directing of Scott Cooper which manages to tie together the slew of great performances into a cohesive story. The bleakness which he gives the film’s visual style serves to accentuate the subtle physical acting of Bridges, resulting in a series of movements throughout the film which are the very breath of depression.
“Crazy Heart,” though a melancholy tale sung through sad songs, is definitely worth watching, even if the country music theme is of no interest to you. This film is bigger than its plot alone; as with any good character study, its major strength is in the quality of its acting. And all the acting here is damn good. If you want to see an Oscar winner that isn’t just the drivel promoted by the Academy, “Crazy Heart,” with its wild acting, will teach you a thing or two about the craft.
Matthieu Decker can be reached at [email protected].
