Closing Night Review
· diy
The Elusive Melodrama: A Case Study in Tone and Influence
Cody Fern’s debut feature, Closing Night, is a prime example of the delicate dance between artistic vision and technical proficiency. This independent film boasts an all-star cast, including Sarah Paulson and Naomi Watts in dual lead roles, but struggles to find its footing in a narrative that veers wildly from melodrama to somber drama.
Fern’s script, co-written with Devon Bostick, appears to draw inspiration from the likes of John Cassavetes and Pedro Almodóvar. The film’s heightened tone and focus on family secrets and traumatic events are hallmarks of these influential filmmakers. However, Fern is still finding his footing in this style, resulting in a movie that feels like a messy amalgamation of influences rather than a cohesive work of art.
Fern’s frequent collaborations with Ryan Murphy have likely had an impact on his approach to storytelling. While Murphy’s campy sensibilities are present in Closing Night, they’re also underutilized. The film’s self-conscious tone and lack of emotional resonance make it feel more like a series of disconnected vignettes than a cohesive narrative.
The cast is another story altogether. Paulson and Watts bring their usual level of sophistication and nuance to their respective roles, but even they can’t elevate the material to its full potential. The supporting cast, including Dianne Wiest in a scene-stealing turn as Sandra’s tart-tongued mother, are given little to do beyond reacting to the main characters’ antics.
Despite its many flaws, Closing Night does contain moments of genuine emotional resonance – particularly in the film’s final act, where Sandra and April finally begin to confront their troubled past. However, these moments are all too brief, and the film ultimately feels like a missed opportunity to explore the complexities of family dynamics and trauma.
Emerging filmmakers often struggle to find their voice in this crowded landscape. Fern is not alone in his struggles to balance artistic vision with technical proficiency. The question remains: what does it take for an emerging filmmaker to truly succeed? Is it a unique vision, a compelling narrative, or simply a willingness to take risks and push boundaries?
Fern’s debut feature ultimately feels like a confusing and emotionally distant melodrama that fails to deliver on its full potential. While he shows flashes of promise, Closing Night serves as a cautionary tale about the dangers of trying too hard to emulate one’s influences.
In the world of independent cinema, there’s always another film around the corner – another chance for emerging filmmakers to take risks and prove themselves as artists. But until then, we’re left with Closing Night: a messy, self-indulgent drama that promises much but ultimately delivers little.
Reader Views
- BWBo W. · carpenter
While Cody Fern's Closing Night attempts to pay homage to the melodramatic greats, it stumbles in its execution. The film's greatest asset is its talented cast, but even they can't salvage a narrative that feels like a hodgepodge of influences rather than a cohesive whole. What struck me as odd was how Fern and co-writer Devon Bostick drew inspiration from Cassavetes' more somber works while incorporating Murphy-esque campiness – it's like trying to square the circle of emotional depth with exploitative flair. The result is a film that's hard to get invested in, despite its occasional flashes of emotional truth.
- TWThe Workshop Desk · editorial
While Cody Fern's Closing Night attempts to capture the emotional intensity of Cassavetes and Almodóvar, its over-reliance on influences dilutes the film's originality. The cast is undoubtedly talented, but they're given little to work with in terms of coherent character arcs. A more nuanced exploration of the family dynamics would have benefited from a clearer narrative structure, rather than relying on melodramatic flourishes that come across as manufactured. Fern needs to distill his influences into something genuinely unique – or risk being lost in the shuffle.
- DHDale H. · weekend handyperson
While Cody Fern's Closing Night tries to pack in too many influences from Cassavetes and Almodóvar, I think it's worth noting that some of these stylistic choices actually work against the film's themes of family trauma and emotional truth. The over-reliance on melodrama detracts from the real power of the story when it finally gets to its core: the raw, painful confrontation between Sandra and April in the final act. A more judicious approach to tone would have allowed Fern to truly nail this aspect of his narrative, making for a film that's less style over substance and more substance that resonates.