I somehow never got around to reading Donna Tartt’s The Goldfinch. I loved her debut, The Secret History, but was not so enamoured of The Little Friend. Eleven years after reading a book I admired but did not enjoy, of course I wasn’t going to be first in the bookshop queue when The Goldfinch was released. Still, I have retained enough interest in Tartt’s work to pop along to Cineworld and give director John Crowley’s movie version a few hours of my time.
I’m glad I do, because it’s an interesting tale. I’ve read a few quite harsh reviews, but I don’t agree with those. It’s not perfect: the pace is glacial at times, and adherence to point-of-view means that some of the most exciting sequences happen off-screen. Theo’s sense of detachment permeates the movie and sometimes leaves us feeling rather detached too. And the one-hundred-and-forty-nine minute running time tests my patience somewhat: half an hour could be cut from this without sacrificing much.
But still. The plot is all convolution, contrivance and coincidence, but I don’t mind a jot. It works. Theo Decker (Oakes Fegley/Ansel Elgort) is at an art gallery with his mum one morning, passing the time before a meeting with Theo’s middle-school principal: he’s been caught with cigarettes. They never make it to the meeting, because a bomb explodes, killing Theo’s mum (Hailey Wist). As the dust clears, Theo sees Welty (Robert Joy), an old man at the gallery with his young niece, Pippa (Aimee Laurence/Ashleigh Cummings). With his dying breath, Welty gives Theo a ring, tells him where to take it, and urges him to rescue a priceless painting lying in the rubble. Theo puts the picture in his bag and stumbles home.
He’s taken in by the Barbours; he’s friends with their son, Andy (Ryan Foust). They’re a wealthy family, kindly but cold. Mrs Barbour (Nicole Kidman) in particular is stiff and uptight, doing her duty but with little compassion. As time passes, however, she becomes fond of Theo, and he starts to feel like he belongs.
Until his wastrel father (Luke Wilson) shows up with his latest girlfriend, Xandra (Sarah Paulson), and Theo is hauled off to the Nevada desert, where he befriends a Russian goth called Boris (Finn Wolfhard/Aneurin Barnard). He’s still got the titular painting though: his talisman, his link to his mother.
And when the wheels come off again, he makes yet another new start…
Nicole Kidman is the best thing about this film: she’s luminous and utterly convincing at all times. But the acting is uniformly good, the young cast particularly impressive in these demanding roles.
The film looks ravishing. The desolation of the abandoned housing estate in Nevada is beautifully rendered, the antique repair shop appears marvellous and magical.
The ending, however, feels a little deflating, the action occurring out of Theo’s (and therefore our) sight. Despite this, I think The Goldfinch is a decent film, and I might just purchase the novel now.