by Shane Conto, Staff Writer
For many people, their relationship with their pet has the dynamic of a parent-child relationship. You know… that whole furbaby dynamic. Some pets act as their owner’s friend, and the most significant connection in their life. But not many people think about the sad reality of what is to be done about our animals when we pass on. In particular, dogs grieve, and need time to process the loss of their humans. With The Friend,writer/director duo Scott McGehee and David Siegel tackle such a story, as a writer/editor named Iris (Naomi Watts) must take in a Great Dane named Apollo who shares her grief.
The Friend takes place in New York City, and that’s a significant ingredient to the film’s overall atmosphere. This is a story about writers and artists, so there’s a refined metropolitan vibe. With this, the film authentically navigates some heavy themes centered around suicide, guilt, grief, and trauma, yet they’re balanced with natural charm, especially when there are so many sweet moments with the big canine star. Yet despite some deep beats, the film never feels melodramatic or cheesy. It is raw in its maturity. The Friend always respects its audience as mature onlookers.
Even still, McGehee and Siegel’s script has extraneous elements as it navigates all of its characters and ideas. Iris is a teacher, and some moments with her students are a bit undercooked. The film navigates a web of relationships that Bill Murray’s Walter had, but not all of them are completely necessary. Thankfully, they’re at least respectful and treated with maturity.
Additionally, while the film is overlong, its story structure is quite effective. It’s a familiar structure, but I didn’t mind, as one beat builds upon the next. The conflict of accepting the dog leads to the real connection between Iris and Apollo, which leads to the fight to keep them together. This story is moving, affecting, and overall, a compassionate exploration of support through trauma and loss. A creative storytelling moment at the climax offers up some telling perspective, opening the door for impressive amounts of catharsis. This is a welcome and fresh addition to the story.
But Watts is the real MVP of The Friend. Her performance should remind people that she is one of the most overlooked and underappreciated talents in film today. She brings a strength which acts as a façade, hiding her true feelings about Walter’s death, as well as the budding connection with Apollo. There is a therapy session where Watts rips open and explores her character’s wounds. She is a raw nerve on display, and she navigates that trauma with class and tact.
Meanwhile, Bing (the dog who plays Apollo) delivers such a wonderful performance that is full of empathy. One look at this sad dog makes you melt, and you want absolutely nothing more than to make sure he is okay. Lots of tender moments between Watts and Bing make The Friend so resonant.
Murray is not in the film much, and when he is, he leans into his dry and sarcastic persona, but in one later scene, brings more complexity than any performance he has given in a long time. Impactful and moving to say the least.
Carla Cugino, Constance Wu, Noma Dumezweni, Sarah Pidgeon, and Ann Dowd all deliver supporting turns that add depth and impact to the overall journey.
For a film about suicide and grief, McGehee and Siegel are subtle, refined, and respectful. Their performers bring plenty of emotion to keep the audience engaged. Watts and company really come to play. The Friend is a mature and classy cinematic affair worth shedding a tear to.
Rating: Liked It
The Friend is currently playing in theaters
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