Love and Mercy

Paul Dano as the young Brian Wilson

Bill Pohlad's Love and Mercy is a wan biopic that diminishes its subject, the Beach Boys' Brian Wilson, with an unfocused look at two key periods of his life: the golden era of his musical career in the 60s and his subsequent mental deterioration and then his reclamation by his present spouse after being bamboozled into 24 hour care by psychologist and snake oil salesman Eugene Landy during the 80s. 

Paul Dano is impressive as the younger Brian, but no other characters project as more than one dimensional types. Pohlad seems so set on portraying the 60s with verisimilitude that no characters or dramatic conflicts emerge. The studio set pieces just sit there like a David Wolper production and we gaze and go, yes, that looks like the Gold Star recording studio and, my. that actress looks just like Carol Kaye, but to what end. The supporting players exist to trumpet Wilson's genius (Hal Blaine) or snipe at him like trolls (Mike Love, Murray Wilson). Wilson's meltdown is murkily explored in pat set pieces in the family pool and living room sandbox. 

John Cusack is miscast as the older Brian. An intelligent actor, he lacks the intuitive feel to play an idiot savant. He and Elizabeth Banks, as his lady love, have a nice rapport, but their romance is threatened by the machinations of Paul Giamatti's Dr. Landy. A gifted performer, Giamatti overacts here to such an extent that his doctor seems more like a frothing gargoyle than a manipulative guru. If underplayed, the role might have come off a bit more sinister and a lot more believable. Director Pohlad seems as much at sea when framing the action as he is with modulating performances. Shots are often so haphazardly set up that there is minimal dramatic impact. (5/16/16)