Home > Aging, Alzheimer's, Cinema, Film, Lovely Still, Nebraskans in Film, Nik Fackler, Oscar Winners, Screenwriting, Writing > ‘Lovely, Still’ is that Rare Film Depicting Seniors in All Their Humanity

‘Lovely, Still’ is that Rare Film Depicting Seniors in All Their Humanity


Image by 1031 via Flickr

This post is likely the last major piece I write about Lovely, Still, the sweet and searing debut feature by Nik Fackler, who I am sure I will be writing about again. The film stars Martin Landau and Ellen Burstyn in roles that allow them to showcase their full range humanity, a rare thing for senior actors in movies these days.  If the movie is playing near you, take a chance on this low budget indie that actually has the look of a big budget pic.  If you don’t have a chance to see it in a theater, look for it when it comes out on DVD in November.  As deserving as the film is for Oscar consideration, particularly the performances by Landau and Burstyn, it’s unlikely to break through due to its limited release. The following article I wrote for the New Horizons comes close to giving away the film’s hook, but even if you should hazard to guess it, the film will still work for you and may in fact work on a deeper level.  That was my experience after knowing the hook and still being swept away by the story.  It happened both times I’ve seen it.  My other Lovely, Still and Nik Fackler stories can be found on this blog.

‘Lovely, Still’ is that Rare Film Depicting Seniors in All Their Humanity

©by Leo Adam Biga

Published in the New Horizons

Hollywood legends seldom come to Omaha. It’s even rarer when they arrive to work on a film. Spencer Tracy and Mickey Rooney did for the 1938 MGM classic Boys Town. Jack Nicholson and Kathy Bates crashed for Alexander Payne’s About Schmidt in 2001.

More recently, Oscar-winning actors Martin Landau and Ellen Burstyn spent two months here, during late 2007, as the leads in the indie movie Lovely, Still, the debut feature of hometown boy Nik Fackler.

True, George Clooney shot some scenes for Up in the Air in town, but his stay here was so brief and the Omaha footage so minimal that it doesn’t really count.

Lovely, Still on the other hand was, like Boys and Schmidt before it, a prolonged and deep immersion experience for the actors and the crew in this community. Landau and Burstyn grew close to Fackler, who’s young enough to be their grandson, and they remain close to him three years later.

Since the production practically unfolded in Fackler’s backyard, the actors got to meet his family and friends, some of whom were on the set, and to visit his haunts, including the Millard eatery his family owns and operates, Shirley’s Diner. It’s where, until recently, Nick worked. It’s also where he carefully studied patrons, including an older man who became the model for Lovely protagonist Robert Malone (Landau).

Then there’s the fact the film drips Omaha with scenes in the Old Market, Gene Leahy Mall, Memorial Park and Country Club neighborhood. Omaha’s never looked this good on the big screen before.

After select showings in 2008 and 2009, including a one-week run in Omaha last year, Lovely is finally getting a general release this fall in dozens of theaters from coast to coast. It opened September 24 at the Midtown Cinema and Village Pointe Cinema in Omaha and other cities across the U.S..

For Fackler, 26, it’s the culmination of a long road that goes back to when he first wrote the script, at 17. Over time, the script evolved and once Landau and Burstyn came on board and provided their input, it changed some more. Finally seeing his “baby” reach this point means much to Fackler.

“I’ve been very emotional,” he said. “I didn’t think I was going to be emotional but I have been. It’s been nine years of persistence and positivity and not giving up. It’s always been this thing in my life, Lovely, Still, that’s never gone away, and now I’m going to let it go away, and it feels good because I’m ready to let it go…

“I wanted it to come out a couple years ago, and it was delayed. Now it’s finally coming out and I feel sort of a distance from it, but at the same time it’s good I feel that because there’s nothing a bad review can say that won’t make me proud of the accomplishment. It just feels good to know that it’s out there.”

Nik Fackler

 

 

The film, which has received mixed critical notices, does well with audiences.

“People that pick up on the emotions and the feelings in the film seem to really be attached to it and love it,” Fackler said. “It’s either people really get it and get something emotional from it or people don’t get it.”

The PG movie’s slated to continue opening at different theaters throughout October before going to DVD November 9.

Lovely had its requisite one-week screenings in Los Angeles and New York to qualify for Academy Awards consideration. While many feel Landau and Burstyn deliver Oscar-caliber performances, the odds are stacked against them because of the film’s limited release and non-existent budget for waging an awards campaign.

Rare for features these days, the film focuses on two characters in their late 70s-early 80s. Rare for films of any era it stars two actors who are actually the advanced ages of the roles they essay. The film also approaches a sensitive topic in a way that perhaps has never been seen before.

Now for a spoiler alert. The film hinges on a plot twist that, once revealed, casts a different meaning on events. If you don’t want to know the back story, then stop reading here. If you don’t care, then continue.

Without getting specific, this story of two older people falling in love is about a family coping with Alzheimer’s Disease. Unlike perhaps a Lifetime or Hallmark Hall of Fame movie, Lovely never mentions the disease by name. Instead, its effects are presented through the prism of a fairy tale, complete with exhilarating and terrifying moments, before a dose of stark reality, and an ending that’s pure wistful nostalgia.

What makes the film stand out from most others with a senior storyline is that

Landau and Burstyn create multidimensional rather than one-note characters. The script requires they play a wide range of emotional and psychological colors and these two consummate actors are up to fully realizing these complex behaviors.

A Best Supporting Actor Oscar winner for Ed Wood, Landau returned to Omaha last year to promote Lovely. He said he was drawn to the material by its depth and nuance and by the opportunity to play an authentic character his own age.

“I get a lot of scripts where the old guy is the crusty curmudgeon who sits at the table and grunts a lot, and that’s that, because we kind of dismiss (old) age. So, the chance of exploring this many sides of a man, and the love story aspect of the older couple, presented an interesting arc.”

The actor marvels at how someone as young as Fackler could tap so truthfully the fears and desires of characters much older than himself. During an interview at North Sea Films, the Omaha production company of co-producer Dana Altman, Landau spoke about the pic, playing opposite his friend Ellen Burstyn, and working with wunderkind writer-director Fackler, whom he affectionately calls “the kid.”

Before there was even a chance of landing an actor of Landau’s stature producers had to get the script in his hands through the golden pipeline of movers and shakers who make feature film projects possible. Fackler’s script long ago earned him a William Morris agent — the gold standard for artists/entertainers.

Landau explained, “Nick sent it to William Morris, who has an independent feature division, who sent to my agent, who sent it to me. I liked it a lot, but I felt there were bumps in it at the time. Some scenes that shouldn’t be in the first act, some scenes that needed to be in the first act. What the second act was I had no idea.” Enough substance was there that Landau expressed interest. It was only then he learned the unlikely author was a not-long-out-of-high school 20-something whose directing experience consisted of low budget shorts and music videos.

“I said, “I want to meet with the writer, figuring somebody maybe close to my age. I said, ‘How old is he?, and they said 22 (at the time). A few minutes later my eyes were still crossed and I said, ‘Wow. I mean, how does a 22 year-old write an older couple love story with this texture?'”

The venerable, much honored actor took a lunch meeting with the Generation Y upstart at an L.A. cafe. Each was a bit wary whether he could work with the other. Landau recalled that initial meeting, which he used to gauge how open Fackler was to accepting notes to inform rewrites:

“I basically said, ‘This is a terrific script, but it’s bumpy. If you’re willing to do this with me, I’ll do the movie,’ and Nick said, ‘OK.’Well, he did a rewrite on the basis of what we talked about, For two months we talked on the phone, several times a week, five or six pages at a time” to smooth out those bumps.

Landau and Fackler devised a wish list of actresses to play Mary. Burstyn, the Best Actress Oscar-winner for Alice Doesn’t Live Here Anymore, was their first choice. On Landau’s advice Fackler waited until the rewrite was complete before sending the script to her. When she received it, she fell in love with the property, too.

Even as much as he and Burstyn loved the storyl, signing on with such an inexperienced director was a risk “It was a leap of faith working with a kid,” said Landau, “but he’s talented and adventurous and imaginative and willing to listen. He reminds me of Tim Burton. Less dark, maybe a little more buoyant.”

In the end, the material won over the veterans.

“Actors like me and Ellen are looking for scripts that have some literary value. Good dialogue today is rare. Dialogue is what a character is willing to reveal to another character. The 90 percent he isn’t is what I do for a living. It’s harder and harder to get a character-driven movie made by a studio or independents and it’s harder to get theaters to take them, so many go directly to DVD, if they’re lucky. Others fall through the cracks and are never seen, and that’s going to happen more.”

The suits calling the shots in Hollywood don’t impress Landau.

“Half the guys running the studios, some of them my ex-agents, haven’t read anything longer than a deal memorandum. And they’re deciding what literary piece should be made as a film?”

He likes that this movie is aimed for his own underserved demographic.

“A lot of older people are starved for movies,” he said. “They’re not interested in fireballs or car chases or guys climbing up the sides of buildings.”

 

 

 

 

He attended a Las Vegas screening of the pic before a huge AARP member crowd and, he said, spectators “were enwrapped with this movie. It talked to them. I mean, they not just liked it, it’s made for them. There’s a huge audience out there for it.”

Instead of an age gap they couldn’t overcome, Landau and Fackler discovered they were kindred spirits. Before he got into acting, Landau studied music and art, and worked as an editorial cartoonist. He draws and paints, as well as writes, to this day. Besides writing and directing films, Fackler is a musician and a visual artist.

“I feel that Martin and I are very similar and we get along really well,” said Fackler, who added the two of them still talk frequently. He described their relationship as a mutually “inspired” one in which each feeds the other creatively and spiritually. Fackler also feels a kinship with Burstyn. He said he gets away to a cabin she has in order to write.

On most any film there comes a time when the director must fight for his or her vision, and Fackler found an ally in Landau.

“One of the main things Martin repeated to me over and over again was, ‘This is your movie.’ He made sure that rang in my ears,” said Fackler, “just to make sure I stayed strong when I came up against fights and arguments with people that wanted the film to be something I didn’t want it to be, and much love to him for doing that. Those words continue to ring in my ear in his voice to this day, and I’m sure for the rest of my career.”

Landau and Burstyn brought their considerable experience to bear helping the first-time feature director figure out the ropes, but ultimately deferred to him.

“All good films are collaborations,” said Landau. “A good director, and I’ve worked with a lot of them (Hitchcock, Mankiewicz, Coppola, Allen), doesn’t direct, he creates a playground in which you play. Ninety percent of directing is casting the right people. If you cast the right people what happens in that playground is stuff you couldn’t conceive of beforehand.”

“It was collaborative,” said Fackler. “We were a team, it was artists working together the same way a group of musicians make a band. We became friends and then after we became friends we respected each other’s opinions.”

As for working with Burstyn, Landau said, “it’s a joy. She’s a terrific actress.” He compared doing a scene with her to having a good tennis partner. “If you’re playing pretty well and you’ve got a good partner you play better. You don’t know exactly where they’re going to place the ball, and it’s that element when Ellen and I work together we have. It’s never exactly the same. She’ll throw the ball and I’ll get to the ball, toss it back to her, so that it’s alive. I won’t call them accidents but they are sin a way, which is what living is, and that element of unpredictability and ultimately inevitability, is what good acting is about. That stuff is what I care about.”

Not every review of the film has been positive. Some critics seem uneasy with or dismissive of its emotionalism, complaining it’s too cloying or precious. That emotional journey of a man who believes he’s falling in love for the first time, only to find out the bitter truth of what he’s lost, is what appealed to Landau.

“The interesting thing about this movie is that if you took away the last act you could cast 15 year-olds in it and not change a lot,” said Landau. “Nick (first) wrote it when he was 17. It’s basically a teenage romance. There’s something simplistic and sweet about these two people who want to be together. Robert’s naive, he’s a kid on his first date. That’s why Nik was able to write it — because he was going through stuff, his first love. The primal feelings people have at 15 or 50 or 80 are pretty much the same.”

Landau is proud to be associated with the film for many reasons, among them its effective portrayal of memory loss.

“I absolutely believe in this film. When I did Ed Wood I felt that way. But this one because I know so many people who’ve had memory problems or are having memory problems. My brother-in-law had Alzheimer’s. A lot of close peers of mine. The Alzheimer’s Association is very behind this movie because it rings true…”

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  1. October 12, 2011 at 3:59 am

    Thanks to the article

    Like

  2. November 24, 2011 at 7:11 am

    I just caught this film on Showtime and went on what felt like a ride back to the early 70’s (The Conversation, Deliverance, All the President’s Men) & then 90’s (Shawshank Redemption, Fargo, Sling Blade among my favorites) when so many great character driven films came out and took me by wonderful surprise. The story of ‘Lovely, Still’ really shook me because of two things: I did NOT see the big whammie of the realization coming and, it actually tricked me into thinking the opposite – that something big was going to happen with the Burstyn character. To have the reveal become what it did and HOW the film got there…wow. It is deep that the writer-director is so young yet has managed to touch upon a subject matter so real and relevant as ‘Lovely, Still’ does. This film is too important to not have received more press and a larger audience when first released, but now on cable it will gain some new affection that it deserves. Thanks for writing about so much rich background – it helps me enjoy it all the more and makes me want to see it again (reaching for the remote and clicking the ON DEMAND feature right now!) Thanks.

    Like

    • November 26, 2011 at 8:00 pm

      Thank you for sharing your enthusiasm for the film and for my write-ups about it and its filmmaker. I couldn’t agree with you more about Lovely, Still. It’s a film that deserves a much wider audience.

      There’s a brief story on the blog about some new film projects Nick is pursuing, specifically a pair of feature-length documentaries he’s shooting in far-off locales about some far-out subjects. His planned dramatic films are also far off the beaten path and I may be writing about those projects and more about his documentary projects next year.

      Like

  3. Kathryn
    December 5, 2011 at 3:08 am

    Our book/movie group watched Lovely, Still last night. I chose it because I had watched it before, was intrigued, and wanted their take on it. Most liked it. One said, “That was a romantic crock of #*&+.” Too bad.

    But what we were trying to figure out was why someone with memory loss would be living by himself, when he obviously had a family that loved him. Two of our members said they thought that Mary still DID live with Robert, and that the empty house with the empty walls were symbolic of Robert’s loss of memory. What we were seeing for most of the movie were his perceptions, not the way things really were. We noticed that the notes stuck up all over the house didn’t show in the movie until his breakdown when Mary was gone. They thought the house across the street was the way the REAL family home looked, outside of Robert’s head.

    But I’m not thoroughly convinced with this argument. Their phone calls to each other make it difficult to think they were actually in the same house. The one-stall garage is another problem. (Mary had a car.)

    Can anyone help me figure this out? Thanks!

    Like

  4. E.C. White
    December 30, 2011 at 5:28 pm

    @Kathryn- After seeing the movie on cable last evening I am left with many of the same questions that you have raised about the two houses and who lived where and when. I am also confused about the pills. A big deal was made about refilling the prescription but I am not sure if they were meant for Mary’s character (some undisclosed illness) or for Robert’s. This was never properly explained. Any guidance is appreciated.

    @Leo- Terrific writeup. Would love to know your take on some of these confusing issues.

    Like

    • August 28, 2013 at 2:20 am

      I too am perplexed by the flag on the prescription. Was it Mary’s prescription? It did not come to me as to whose medicine it was and why the flag? . Please send any thoughts my way. I actually thought that Robert worsened when the pills were gone. sunny coojim@aol.com

      Like

  5. July 11, 2012 at 9:33 am

    i loved most of the movie, but i am so confused about it. who was the little girl at the party? what about the pills as another commenter mentioned….i don’t understand why he lived accross the street; in the beginning of the movie i thougt mary and her daughter just moved in….did they have 2 houses? geez, i’d like to understand this film better.

    Like

  6. Andrea Ewart
    July 21, 2012 at 9:38 am

    I just watched it and have the same questions as Kathryn, E.C. White and Dawn. Would love some clarity too. I’m up at 5:30 trying to get some answers!

    Like

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