As a lifelong dog lover and someone who has lost more than one pet to the cruel hands of time, I found “The Friend” to be a deeply moving and thought-provoking film. The bond between humans and their pets is often unbreakable, and this movie captures that bond beautifully through the character of Apollo, the harlequin Great Dane who is grieving for his lost master.
Prior to his demise, renowned French actor Alain Delon expressed a desire for his beloved Belgian Malinois, Loubo, to be euthanized upon his passing. Delon felt so deeply connected with his rescued pet that he feared Loubo would suffer greatly from the pain of losing him, and thus wished to protect his faithful companion from such distress. However, it was later reported by the press that Delon’s children decided against this course of action and opted to let Loubo live on.
In simpler terms, “The Friend” is a touching film about dealing with grief, which explores deeper themes than one might expect from a movie about dogs. The movie presents Apollo, a 180-pound Great Dane, as an emotional support animal for the audience. Apollo lost his owner and may be destined for the dog pound unless someone compassionate adopts him. In this film, Naomi Watts portrays that caring individual in a predictable yet heartwarming story that has more depth than most dog-focused tearjerkers.
It can be challenging to discuss death with people, many of whom choose not to contemplate it. This is a problem that often arises for pet owners who fail to make proper arrangements for their pets’ futures when they pass away. However, this isn’t the case with Walter Meredith (played by Bill Murray), a well-respected elderly author known for his old-fashioned ways and past relationships with students before allegations of misconduct ended his teaching career. Unlike others, he leaves his giant dog to his favorite student-turned-former flame, Iris (played by Watts).
Securing Murray for an extended cameo proved to be a significant achievement for co-directors David Siegel and Scott McGehee, as the role required an actor whose impact was palpable even when not on-screen, and whose allure could soften such a complex character. To me, it was challenging to remember Walter’s ex-partners due to his history as a serial womanizer. At his funeral, we see his first, second, and third wives – Elaine (Carla Gugino), Tuesday (Constance Wu), and Barbara (Noma Dumezweni) respectively, along with an adult daughter, Val (Sarah Pidgeon), and multiple friends, among them likely Iris.
Is the title of the movie, seemingly lacking in spark, referring to Iris, Walter or the dog? This confusion arises from Sigrid Nunez, the author of the acclaimed novel that the filmmaking duo Siegel and McGehee have adapted. The novel and its cinematic counterpart can be understood as straightforward portrayals (depicting the challenge of owning a large, melancholic pet), but they also delve into deeper themes, such as mortality, where Apollo represents the emotional weight of losing someone to suicide.
After two hours, “The Friend” might appear lengthy and lacking in significant events, making it seem more like an animal adoption story. However, it’s worth delving deeper into its emotional aspects. Your personal experiences, such as the loss of loved ones and adopting animals, greatly influence your interpretation of the film. A friend once shared that dogs were created to aid humans in coping with grief, which I found a somewhat self-focused perspective, but it’s undeniable that their lives are shorter than ours, and losing one forces us to confront our own mortality.
As a film enthusiast, I ponder over why Walter picked Iris to look after Apollo, given her situation living solo in a minuscule, rent-controlled flat on Washington Place, where pets are strictly prohibited. Despite our shared macabre humor, the notion that he’d actually act upon those jokes was never on my radar. Now he’s gone, and I’ll forever be left wondering about his thoughts. The ruthlessness of suicide lies in its ability to leave behind a trail of mysteries for the survivors to grapple with.
Iris hesitantly takes on the task of finding a new home for Apollo, viewing him as not only a symbol of her late friend but also a being that now relies on her for existence. Her building manager, Felix Solis, is cordial yet firm, emphasizing that pets are prohibited in the apartments, making it impossible to conceal Apollo in a bag like other dogs. A neighbor, Ann Dowd, appears sympathetic, but what must life be like with such a formidable animal living so close by? It won’t be long before complaints start pouring in.
It’s hard to picture a less suitable pet for a New York apartment, and a Great Dane is especially imposing in Manhattan’s bustling streets. Yet, it’s this contrast that makes “The Friend” intriguing. Scenes show Apollo pulling Iris along on a leash, while others depict him stubbornly refusing to move. In a nod to film enthusiasts, the song “Everybody’s Talkin'” plays during shots of Iris walking Apollo through New York crowds. However, this movie doesn’t come close to matching “Midnight Cowboy” in terms of the emotional impact it delivers at the end.
Fans of dogs will find “The Friend” enjoyable regardless, despite it wrapping up a bit too neatly. Before Iris can rescue Apollo, she must make the choice to truly keep him, and by doing so, she must take on the responsibility for his life… and acknowledge that this five-year-old pet is nearing the end of its days rather than the start. “The Friend” serves as a tutorial in dealing with grief, but also as a practice session for pre-mourning.
If “The Friend” didn’t touch me as deeply as it did for some viewers, I would explain this in two ways. First, since Bing, the canine actor portraying Apollo, appears to be exceptionally well-trained, his demeanor contrasts sharply with the unruly personality that Iris finds difficult to handle. Second, the overly polite behavior of all characters in the film left me feeling unsatisfied. When Apollo disrupts by jumping onto Iris’ bed, she quickly surrenders and moves to an air mattress instead of expressing more frustration at the situation. This lack of visible anger among the characters was disappointing to me.
In essence, “The Friend” aims to offer emotional release, and it’s beneficial when Iris and others show intense feelings. The therapy scene in the movie sets a promising tone, but the subsequent one where Iris confronts Walter’s ghost seems forced. Granted, as a creatively stifled author herself, Iris might find an outlet for this experience through writing. However, one wonders if this is truly the novel that Walter envisioned his gifted student to compose. Even in death, friends discourage each other from producing subpar fiction.
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2024-08-31 07:47