No Bookmarks. No Regrets.
Farrelly’s meticulously planned trip goes every way as it was anticipated; fun, lighthearted and awe-inspiring. This already overridden concept on film-making, narrows down the finite possibilities of the makers where they are cornered in the familiarity, and Farrelly’s heartwarming answer to these accusations is simplicity. Carrying out the usual theme with a typical textbook structure, there is an ease, almost impenetrable by any of the weakness, that helps bubble up the best possible outcome from this journey. In fairness, Farrelly is not challenging himself. He is playing way too safe, convincing but never a stranger.
His fear over going an avant-garde vocab wrong is won over by his brilliant execution. His world, no matter how unfair, is perfectly balanced. Raising questions and clearing doubts, the trajectory of all the sub plots is predictable and yet entertaining. These old methods of intertwining two opposite personas in a room and working its way up to an imperishable friendship by accepting the difference of opinion, just works, it flows.
And we may have already encounter the usual, narrow minded and open minded, coy and bold, rich and poor debate over the years in cinema but with a performance as such from the cast, you cannot stop yourself for being giddy up for more. Mortensen as a free spirited Italian-American living at the brisk of his life is the teddy bear of the film. His adorable feature may as well be funny, but a world so tiny and shiny with his eyes is something the viewers connect with instantly.
And balancing the other side of the coin, Ali as a poised artist that quotes “dignity”, is the huskier bit of the film. Portraying an infamous persona as such, Ali’s performance is a testimony to his marvelous career, from performing an act on stage through resisting the urge to be parental with Mortensen, his performance craves your attention. But nevertheless, Mortenson’s buoyant expressive nature is much more three dimensional and cinematic to share the applause, from his body language to his sense of humor, he slaps other artists on screen with an unflinching portrayal. Your usual montage sequences like helping each other with something they are natural with, this half and half team makes a complete ten on screen.
Mortensen preaching on the practicality and ruggedness of the street is hysterical whilst Ali’s genuinely moving descriptions over the letters, humbles your opinion as it ages on screen. Clocking at more than two hours, narration flows like a smooth vivid fluid that keeps encouraging you for more of these stops. Has Farrelly managed to make his best film till date? Definitely, but what surprises you, is that it is his funniest too. He is just natural in his comic tone. And the dramatic part is relied upon the performance which never disappoints. The toe-tugging conversations in a car cruising over the locations is the ultimate peak of the film that is delivered at multiple orderly stages. Green Book is an already-read open book, but it never hurts to revisit those pages, the perspective has evolved.