Love & Mercy – immaculate, respectful – doesn't follow that philosophy.
The mistakes can make music perfect, he says. His piano player hits a wrong note and Wilson loves it. He's just recorded his dogs, Banana and Louie, singing backing vocals. He wants the musicians playing in two different keys he's happy for control room chatter to bleed onto his song. There's a scene in the studio showing Wilson in his element. The other Beach Boys are bit-parts in a life, which feels particularly unfair to Dennis, another complex character whose life drifted away from the fun-in-the-sun innocence of the band's early years. Recreational drugs are present, but the idea of addiction, or even dependence, isn't addressed. There are areas of Wilson's story that are underplayed or ignored. It's very sensitive to its subject, which can sometimes leave it feeling slight. This biopic, like any biopic, is a cocktail of fact and myth. Brian is a victim to be saved from a bad man by a good woman. The complexity of both characters is sacrificed, however, the grey areas of Wilson and Landy's relationship unexplored. Banks is an angel of patience and understanding as Ledbetter, the only person who realises how unhealthy Landy's influence has become and the lone hero who can break Wilson free. Landy quickly devolves into the kind of maniacal weasel we've seen Giamatti play too often. Banks and Giamatti's roles are more one-note. His shyness brings out a subtlely that Dano often lacks, while Cusack's dry charm gives the older man a sense of humour, as well as nobility. There's a consistency between the character in the two stages of his life that smooths the jolt between the eras.īoth Dano and Cusack perform beautifully. Similarly, the older Wilson isn't just a frightened drug casualty. The pressure to make his records sound as good as he imagines them is hounding him.ĭano plays Wilson with the odd lapse into manic paranoia, but Moverman resists making the link between mental illness and creative freedom too strong. He's worried that his brothers don't get him, he knows the Beatles are stealing his ideas.
He can't stop the music, even when he wants to. After the state of California barred Landy from contacting Wilson, all of Landy's songwriting credits were removed from Wilson's songs. Eugene Landy was originally credited as the song's co-writer. It is the opening track of his solo album 'Brian Wilson', released July 1988. Young Brian is manic and fragmented, even at his happiest. 'Love and Mercy' is the title of a song written by Brian Wilson. His Wilson story is less of an adventure, but it does a similarly fine job of avoiding oversimplification. Oren Moverman, Love & Mercy's screenwriter, also co-wrote Todd Haynes's multi-stranded I'm Not There, based loosely on the life of Bob Dylan.
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