Love & Mercy 2015 123movies

Watch: Love & Mercy 2014 123movies, Full Movie Online – Brian Wilson is the creative soul of The Beach Boys, but he paid a heavy price for his talent. That especially shows during his peak artistic years in the 1960s, as his inner demons and obsessions trying to please his abusive father drive him to a mental breakdown that would plague him for years. In the 1980s, with Brian barely functional under the domination of the unscrupulous Dr. Landy, Brian meets and falls in love with Melinda Ledbetter. As their relationship grows, she observes Brian’s crippling subservience to the abusive psychotherapist with growing alarm. Ultimately, she must take action with a love willing to stand up to oppression she cannot ignore..
Plot: In the late 1960s, the Beach Boys’ Brian Wilson stops touring, produces “Pet Sounds” and begins to lose his grip on reality. By the 1980s, Wilson, under the sway of a controlling therapist, finds a savior in Melinda Ledbetter.
Smart Tags: #the_beach_boys #california #songwriting #psychotherapist #hearing_voices #los_angeles_california #mental_illness #musician #pop_music #based_on_true_story #abusive_father #mental_breakdown #voices_inside_the_head #nonlinear_timeline #rock_music #medical_malpractice #songwriter #1960s #1980s #therapist #multiple_actors_for_one_character

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Ratings:

	7.4/10 Votes: 40,057
	90% | RottenTomatoes
	80/100 | MetaCritic
	N/A Votes: 573 Popularity: 14.167 | TMDB

Reviews:

A film about the two things we’re constantly bound by
It’s no secret that with the plethora of biopics we get every year, there is a formula that many of them follow. Just last year, we got to see the stories of a wayward soul who ventured out on a soul-cleansing journey through the mountains, a computer genius who cracked a presumably unbreakable code during war times, one of the deadliest snipers in American history, and one of funk’s greatest musicians told on film. Bill Pohland’s “Love & Mercy,” concerning the life of Beach Boys singer Brian Wilson, is bound to be written off by some as another interchangeable biopic, but if you’ve seen so much as a trailer for this film, you know this is something deeper, richer, and more complex than formula could ever begin to handle.

“Love & Mercy” focuses on two times pieced together, as Pohland and the writing team of Michael Alan Lerner and Oren Moverman segway between the “past” Brian Wilson, played by Paul Dano, and the “future” Brian Wilson, played by John Cusack, never telling us exactly where the present lies. We follow Wilson during his rise with his brothers and friends to make The Beach Boys one of America’s most successful boy bands in the 1960’s. Despite initial success with The Beach Boys, following a severe panic attack, Wilson resigns from the band to focus on writing back home in California. He’s convinced he has found the formula for “the greatest rock album ever,” experimenting with a plethora of different melodies, instruments, and lyrics to create something one can not only hear and enjoy, but feel.

While undergoing this arduous process, Wilson is met with little vocal support. He receives the casual head nods from most of his bandmates, with the exception of Michael Love (Jake Abel), who constantly criticizes his creative decisions, and his father, who is still bitter after being fired by his own son. While focusing on this, we frequently jump into Brian’s life in the future, where he is placed under the care of Dr. Eugene Landy (Paul Giamatti in another brutal but compelling role), who over-medicates and physically and mentally abuses him. Brian winds up meeting and falling for a Cadillac saleswoman named Melinda Ledbetter (Elizabeth Banks), who constantly wants to be with him but finds Dr. Landy to be a smothering force preventing their connection from growing.

Pohland’s experimental structure for “Love & Mercy” is nothing shy of remarkable, but the fact that it doesn’t make the film feel off balance or tonally uneven is a total cinematic anomaly. While frequently weaving through different time periods seems ripe for complete chaos for a film trying to keep a consistent tone, “Love & Mercy” handles the challenge beautifully, humanizing Brian regardless of his age and working to find the core idea in each scene.

I’ve long asserted that Paul Dano is one of the finest actors in cinema today and “Love & Mercy” is another link in his ever-growing chain of terrific performances. Similar to his role in “Prisoners,” Dano must remain relatively expressionless and look as if nothing is occurring inside his head, when really, there is too much going on in his head to accurately communicate. Dano, once again, blindsides the audience by taking a role that seems too facile to carry a film and making it a fleshed out, thoroughly impressive performance. John Cusack also delivers a role much like Dano, channeling his kind of emptiness so well that it’s like watching two actors in different time periods of their life playing a character in different time periods of his own life. The result is a mesmerizing, surreal experience.

“Love & Mercy”‘s vignette-style structure examines the heartbreak, the joy, the contentment, and the unmatched physical and mental pressure of Brian in a remarkably tender way. Robert Yeoman’s cinematography also paints a picture that, while littered with nostalgia in look, costume design, and general vibes, captures Brian’s hectic environment so affectionately that it becomes strangely beautiful. Through all of Brian’s madness, his unpredictable panic attacks, episodes of rage, and the contemptuous relationship with his father, Pohland searches to find attributes of Brian to showcase in a way that’s impacting.

Calling “Love & Mercy” a “mesmerizing, surreal experience” is an appropriate, if ostensibly exaggerating, summation. Similar to how Brian can’t always communicate the beauty behind the sound of his music, I can’t quite put my finger on what works with this film and in what manner. This film, however, snuck up on me in a way that was remarkably subtle but lasting and, even though it’s been several days since I’ve seen it, the effect remains strong in a way that only enhances the film’s compelling and unique aura.

Band of Brothers
I had no idea what this film was about. I thought it would be another musical biopic like “Walk the Line” or “Ray”. It’s nothing like those movies. This is the most intense, in-depth, and soulful look at the fragility of the creative mind since “All That Jazz”. “All That Jazz” is the best film ever made about choreography and dance, this is the best film ever made about rock ‘n roll. Dark, often depressing, but also exhilarating, “Love & Mercy”, like “All That Jazz”, captures the sense of loneliness and despair many creative geniuses suffer. And when the music starts, it’s cool, loud, and breathtaking. “A Beautiful Mind” is the best film ever made about mental illness, because it’s an unflinching and compassionate portrait rendered with remarkable artistic skill by director Ron Howard and acted by Russell Crowe. “Love & Mercy” is its equal: Director Bill Pohlad tells an equally moving story of a man’s mind falling apart, every bit as skillfully as Ron Howard, and the performances by Paul Dano and John Cusack are each Oscar worthy – as was Russell Crowe’s. And first and foremost, I found it to be one of the most painful and frightening portrayals of a tyrannical father ever put on film. Brian Wilson was surrounded by monsters, real and imaginary. In many ways the Beach Boys were a performing family, like the Osmonds or the Jackson 5, a band of brothers at the mercy of a brutal father. I could go on and on,there’s a lot going on here – it’s a terrific love story too – this movie delivers on so many levels.

Other Information:

Original Language en
Runtime 2 hr 1 min (121 min)
Budget 0
Revenue 28641776
Status Released
Rated PG-13
Genre Biography, Drama, Music
Director Bill Pohlad
Writer Oren Moverman, Michael A. Lerner, Brian Wilson
Actors John Cusack, Paul Dano, Elizabeth Banks
Country United States
Awards 20 wins & 58 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, Datasat
Aspect Ratio 1.85 : 1
Camera Arriflex 16 SR3, Zeiss Ultra 16 and Canon Lenses, Panavision Panaflex Millennium XL2, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Laboratory Company 3, New York (NY), USA (digital intermediate)
Film Length N/A
Negative Format 16 mm (Kodak Vision3 200T 7213), 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 16 (source format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (spherical) (partial blow-up), D-Cinema