Filmed sporadically over twelve years, Richard Linklater’s “Boyhood” follows the coming-of-age of Mason Evans, Jr. (played by newcomer Ellar Coltrane) as closely as any film has ever attempted, resulting in an enveloping, relatable drama.
The 12-year filming technique is what makes “Boyhood” so special – as each character experiences the life stages paralleling their real life ages – and the film unfolds naturally under Linklater’s guiding hands as writer and director. Some of his previous work toys with time as a concept and follows characters intermittently across several years, so Linklater is no stranger to a work of this scope and ambition (see the “Before” film trilogy also featuring Ethan Hawke).
Despite the film running a little beyond most of our twenty-first century attention spans, Linklater’s expertise is obvious, as he chooses the most pivotal moments in every character’s life to showcase.
The narrative begins in 2002 with a six-year-old Mason Jr., his older sister Samantha (Lorelei Linklater) and single mother Olivia (Patricia Arquette) living in Texas. As the story continues, Mason Jr. and Samantha must deal with infrequent contact with a deadbeat dad (Ethan Hawke) and their mother’s revolving-door relationships.
The life-lesson moments hit close to home for many with relatable experiences involving each character. Divorce, moving, experimenting with drugs and alcohol and going to college are major themes present in “Boyhood,” with each spanning across the multiple generations represented by each character. The performers carry these moments in nuanced, intuitive ways that result in a jarringly real portrayal of life.
Ellar Coltrane as Mason Evans Jr. is raw in his performance despite not yet having cut his teeth in the movies. He is not an actor, and by the time his awkward years go into full swing, this becomes painfully obvious. Gone are the technical, systematic approaches to child acting in “Boyhood.” Here, Coltrane is simply being who he is. In many scenes, I found myself feeling uncomfortable because Coltrane’s Mason Jr. genuinely invoked cringe-inducing images of the trials and tribulations of my own adolescence.
Likewise, Lorelei Linklater (Richard Linklater’s real life daughter) as older sister Samantha also realistically transforms from a loud, obnoxious preteen screaming Britney Spears songs into a contrived, aloof, “cool girl” by the time she enters college.
Tell me you haven’t witnessed this change in real life?
That’s the brilliance of “Boyhood.” Seasoned child actors do not shoulder the grit of adolescence. The use of real, confused and unconfident adolescents results in a sense of normalcy simply not present in other similar coming-of-age films.
Yet, Linklater’s “Boyhood” also creates a dramatic environment ideal for adult actors to flourish. Patricia Arquette and Ethan Hawke both shine in their supporting roles, and both are nominated for Academy Awards because of it.
As Olivia, Arquette fully embodies motherhood. From the stress that we witnessed all of our mothers go through– often, because of us – to simple moments of sweet motherly affection and encouragement, Arquette as Olivia thoughtfully navigates what it is to be a mother. You can feel that she wants what is best for her children, even if they may dislike her decisions.
Emphasizing that life is a constant lesson, she continuously learns from failed marriages and difficult choices while Mason Jr. and Samantha become young adults. Because she is driven, she becomes successful, independent and a true role model for her children – a truth even her ex, Mason Sr., has to admit.
Ethan Hawke as Mason Sr. also triumphs in the role. Beginning as the deadbeat, free-spirit dad, Hawke gently and instinctively allows his character to mature. He eventually becomes a true role model for his children, albeit much differently from Olivia. Encouraging self over everything else, he shows them it’s okay to embrace their individuality, even if they don’t have everything figured out.
Because of these visceral performances, these characters come together as a believable, relatable family with elements that virtually any viewer can relate to – which would be impossible without Linklater’s screenplay and direction.
Linklater deftly writes the screenplay, demonstrating a real knowledge of people young and old. He successfully writes characters from all walks of life. Every line drips with authenticity, especially when the Evans family interacts. Linklater knows people, and it shows.
Even though “Boyhood” was filmed over a total of 45 days spanning across twelve years, Linklater managed to keep this sprawling storyline cohesive—a monumental feat considering he also directed and released several other films during that timeframe.
Praises should also be had for cinematographers Lee Daniel and Shane Kelly and editor Sandra Adair for assisting with the sheer enormity of the project. Without everyone’s collective ambition and dedication, “Boyhood” may never have made it to the big screen.
Easily one of the best films – if not the best – of the year, “Boyhood” is up for a well-earned six Oscars at this year’s Academy Awards – including Best Picture, Best Director, Best Supporting Actor and Best Supporting Actress. I have never seen a film capture adolescence quite like “Boyhood” – the coming-of-age film of our generation.
