Of recent, in many ways as there always has been, a film year comes down to the biggest of epics and the smallest of independent dramas. Before the year is through we have many, many more films to view, however I can see a very early race at this stage between are you an Oppenheimer or a Past Lives person. Past Lives is a small and effecting film that demands full attention, despite its surface level few demands regarding narrative and extended sequences, however is built upon the smallest of fragments and glimpses that make this indeed as has been acclaimed already by many more than me, one of the years best films.
Told in three distinct segments 12 years apart, Song’s Past Lives tells the story of Nora, played by Greta Lee, as through the years we see her fragmented relationship with a childhood sweetheart Hae Sung, played by Teo Yoo. At first as children, then in their early 20’s in New York for Nora and in Seoul for Hae Sung, then finally in their adult lives as Hae Sung decides he must travel to New York to finally meet Nora once more and come to terms in any way he can with what once was or more for that matter in another life what could have been. Song’s screenplay is a stunning piece of work balancing two languages and a world of contemplations on love and fate, aswell multiple moments where such large heady concepts go by the wayside of the dialogue and two people are left to talk about the granular of their lives. Song’s work as a director is similarly stunning and assured for a debut to film and a crafted subtlety frames the films overall softness of tone. The editing of Keith Fraase never feels harsh or forced, despite the films many time jumps and location leaps, instead there is simply a constant flow like time on a river, taking us gently through this very singular tale of romance. Paired with the similarly soft and gentle cinematography of Shabier Kirchner as we look upon the worlds of New York and Seoul in separation and dichotomy as much as we grasp the similarities too. Christopher Bear’s score is once again in this same mould of high conceptualisation seemingly blending notations of universal possibilities with the simple pavements of a city.
The film has
three central performances that will and should receive awards consideration in
my personal opinion with Greta Lee as our central Nora who ends up in a love
triangle of sorts with Yoo’s Hae Sung and her husband of twelve years or so
played by John Magaro. Lee of course has the most difficult job as she balances
the whimsy and romance of the idea of Hae Sung with the practically and love
that she feels for her husband. All three performances are marvels of subtlety and
each are filled with the most touching and powerful of slight moments, however
Lee is never really given the more literal scene or speech that the two men in
her life are given in presentations of defending their side. Lee instead floats
between these men and the concepts they offer with a beautiful compassion and
clear care that makes her performance a true marvel. Yoo has to encapsulate all
the romance of the film whilst never letting his pained idolisation of Nora
come off as clawing, unbelievable or worse something to root against. Yoo is
charismatic and pained and the possibility of romance is more than earned. Song
also grants him the powerhouse ‘not a dry eye in the house’ line near the very
end of the film that he delivers with such tenderness that the conclusion sings
just as well as you have heard so far. Magaro is the great surprise and has the
difficult role so many have had in cinema prior from Victor Lazlo onwards of
the ‘evil’ one in the way of the great true love, yet here Song and Magaro
offer a more human portrayal of this figure and one who is filled with emotion
yet overwhelmed by a compulsion for the right thing to occur. It’s all so incredibly
tender and well delivered that you can’t help but swoon a little, even if the
first two acts are frankly for me not to the level of the third acts mastery.
A beautiful 8/10 whose three act structure does build in quality with each act leading to a truly breathless final hour and one of the most gripping and touching finales of the year, even if the first two acts aren’t as intriguing no matter how necessary they are. This is a deeply assured, deliberate and powerful debut from Song and I can firmly see her wonderful work being a clear ‘dark horse’ of the Oscar race. A trio of incredible performances and a composition of realism gleamed by romanticism in its production elements all come together led by Song for one of the films best.
P.S. I think the universal nature of the longing, romance and long lasting thoughts of the film will work in its favour best as we come to Oscar season. This film has stuck with me now for multiple days and will remain that way. I watched this film on a break before work of mine where I had to dance and lead a party atmosphere. It’s fair to say that all I wanted to do was sit and think about the film, dry my tears and talk with others about those intensely gripping final moments. I don’t think many can relate to that exact viewing situation, however leave time to discuss this film with others, get others to watch it. Its surely not by design, but the film does conclude and lead you to want find people, of course to talk about the film not track down lost loves… or perhaps indeed that too. You’d be lying if you don’t go to bed that night and think about those from the long past behind you.
- - Thomas Carruthers
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