Diane Lane and Kevin Costner reteam for gripping family drama 'Let Him Go'.

Published: Aug 21, 2024 Duration: 00:02:24 Category: Sports
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Diane Lane and Kevin Costner reteam  for gripping family drama 'Let Him Go'.  A potent image in the riveting movie  "Let Him Go" features Diane Lane   standing at the left of the screen,  clutching a young boy to her chest,   while Lesley Manville moves in from the right,  trapping him between the women's torsos. That visualizes the conflict in this adaptation  of the Larry Watson novel that was published   by Minneapolis' Milkweed Editions. The boy is  Margaret's grandson, the child of her late son,   but his mom, Lorna, remarried and  disappeared. Margaret and her husband,   George (Kevin Costner), have tracked them  to a remote enclave in 1960s North Dakota. It's the home of new step-grandparent Blanche, and  Manville, in the sort of showy performance that   wins supporting actress Oscars, presides over  it with an exaggerated friendliness that feels   like she studied how genuinely nice people might  act so she could use it to cover her hostility   and contempt. Eventually, it all comes out. "Lorna said you were rough bark," Blanche informs   George at a tense dinner, turning to Margaret.  "And I can see you're no day at the races, ma'am." It's as if both women are staking  their claim to the child, and in fact,   that's what's happening. Like  Watson's tense, spare novel,   the movie's action is driven by character.  There are long silences during which Margaret   and George telegraph their worries about  their mission or Blanche wordlessly lets   Margaret know there is no way in hell she  is walking out of there with their grandson. From the get-go, "Let Him Go" has a mournful  inevitability that suggests characters trapped   by a dilemma with no good solution. We're on  Margaret's side, but we also know she wasn't   as kind to Lorna as she could have been and it  might have made a difference if she'd made an   effort. George supports his wife the minute  she announces her intentions, but there's   also a tender, ominous moment when she's asleep  and he whispers in her ear, "Go home, go home."  Bezucha makes a lot of smart, simple choices.  He uses majestic vistas (the movie was shot   in Canada) to underline the pure dignity of  Margaret and George, but his staging of the   climax, in a cramped hotel room, is clear and  suspenseful. He was smart to cast Manville,   whose theatrical gusto is nothing like  the plain-spokenness of Lane and Costner,   because that helps establish that they've  stumbled into a world where they do not belong. The movie is accompanied by Michael  Giacchino's achy, mostly piano-based   score. As it builds toward the finale, the  music gets richer but Giacchino ends the   movie on one perfect note that encapsulates the  mood of "Let Him Go": a high, unsettling one.

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