{"id":1932,"date":"2018-01-20T13:32:34","date_gmt":"2018-01-20T12:32:34","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-wonderstruck\/"},"modified":"2025-06-16T19:19:12","modified_gmt":"2025-06-16T17:19:12","slug":"review-wonderstruck","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-wonderstruck\/","title":{"rendered":"Review: Wonderstruck"},"content":{"rendered":"

Todd Haynes<\/strong> is the acclaimed writer and director behind films such as I’m Not There<\/strong>. Employing a similarly unique approach, this review examines Wonderstruck<\/strong>.<\/p>\n

The film presents two parallel narratives centered on two children in different eras. Rose (Millicent Simmonds)<\/strong>, flees her home in 1927 and journeys to New York City in search of her idol. Decades later, in 1977, the newly orphaned Ben (Oakes Fegley)<\/strong> travels to the same city, seeking his biological father. Both characters share a commonality: they are deaf.<\/p>\n Newly arrived in New York.\n

While the plot of Wonderstruck<\/strong> appears straightforward, the narrative execution is sophisticated. To immerse the audience in the experiences of the deaf protagonists, Haynes employs distinct stylistic choices. Rose’s scenes, set in the 1920s, are presented in black and white, emulating the silent film era. In contrast, Ben’s scenes in the 1970s utilize fluctuating sound levels, reflecting his recent hearing loss following an accident. This bold approach, while potentially gimmicky, remains consistent and effective throughout the film. Initially, however, acclimating to this storytelling method may require some patience.<\/p>\n

Millicent Simmonds delivers an exceptionally expressive performance as Rose. Despite the absence of audible dialogue, her nuanced portrayal effectively conveys the character’s emotions and intentions. Oakes Fegley, as Ben, also delivers a strong performance. The exceptional acting of both young performers contributes significantly to the film’s impact.<\/p>\n Julianne Moore impresses as usual.\n

Julianne Moore<\/strong> embodies dual roles, portraying both Rose’s idol and another character in the 1970s timeline. To avoid plot spoilers, the precise nature of these roles will remain undisclosed. Moore, having navigated a diverse range of roles throughout her career, delivers a compelling performance that elevates the film’s third act.<\/p>\n

Michelle Williams<\/strong> makes a brief but impactful appearance as Ben’s mother. In her limited screen time, she effectively establishes the foundation for understanding Ben’s subsequent actions. Tom Noonan<\/strong>, a character actor recognized from roles in films such as RoboCop 2<\/strong>, Manhunter<\/strong>, and Den sista action hj\u00e4lten<\/strong>, appears in a minor role. His distinctive voice provides the only indication of his presence.<\/p>\n Jaden Michael shares a secret.\n

Potential drawbacks include an initial period of adjustment required to fully engage with the narrative. However, once immersed, the film proves captivating. Secondly, while the use of black and white cinematography has been praised in reviews for Logan<\/a><\/strong> and The Party<\/a><\/strong>, its implementation in Wonderstruck<\/strong> is less effective. The transition to black and white solely to signify a shift to the past feels somewhat contrived, disrupting the viewer’s immersion. While maintaining the silent film aesthetic is commendable, the inclusion of subtle color could have been explored. Furthermore, the black and white sequences lean towards grayscale, lacking defined contrast. Despite these minor criticisms, Wonderstruck<\/strong> remains a worthwhile cinematic experience, best enjoyed on the big screen.<\/p>\n