Love & Mercy


Action / Biography / Drama / Music

Rotten Tomatoes Critics - Certified Fresh 90%
Rotten Tomatoes Audience - Upright 85%
IMDb Rating 7.4 10 34658


Uploaded By: OTTO
September 02, 2015 at 12:07 PM



Elizabeth Banks as Melinda Ledbetter
John Cusack as Brian Wilson - 1980s
Paul Dano as Brian Wilson - Past
Paul Giamatti as Dr. Eugene Landy
870.49 MB
English 2.0
23.976 fps
2 hr 1 min
P/S 6 / 50

Movie Reviews

Reviewed by bob-the-movie-man 8 / 10

God only knows, this is a must see film

Personal genius has been brilliantly portrayed in film before: "A Beautiful Mind" for maths; "Amadeus" for classical music; and more recently "A Theory of Everything" for cosmology. Behind such genius is often a degree of dysfunction, if not borderline madness.

Here with "Love and Mercy" we get an insight into the creative churning of Wilson's tortured mind. But it is very much a time-banded view, focused on two key periods of his life: 1966, with Paul Dano ("12 Years a Slave"; "Looper") playing Wilson, and the 1990's where Wilson – severely drug-damaged, mentally ill and now played by John Cusack - is being taken for a ride by an unscrupulous and dangerous psychiatrist, Dr Eugene Landy (Paul Giamatti). Playing a key role in his recovery is car saleswoman Melinda Ledbetter (Elizabeth Banks) who Wilson desperately latches onto as a drowning man might grab a life-vest.

Whilst the film could be described as a game of two halves, this is not how it is played out. We jump between both eras without warning, which works extremely well in maintaining the interest in the two parallel stories.

In biopic terms, the 60's segments are probably the more gripping, providing a riveting insight into the production techniques of the iconic "Pet Sounds" album, frequently cited as one of the most innovative and creative albums ever released. The film also features superbly recreated 'old footage' (cinematography by Robert D. Yeoman) showing Beach Boy TV slots and video productions. Wilson's genius is neatly reflected through the admiration of the session musicians: they'd "played with them all" – Sinatra, Presley, Sam Cooke, etc – but Wilson was something else entirely.

Paul Dano is just superb as the troubled youngster, physically and mentally abused by his father (an excellent Bill Camp) and exhibiting mental instability even before the dangers of LSD become evident. His slide into near insanity is brilliantly reflected in an audio soundscape that merges snatched Beach Boy fragments and natural sounds into a cacophony. If Edward Tize and his sound department doesn't get nominated for an Oscar for Best Sound Mixing there is no justice in the world.

In the 90's segments, Cusack delivers his best performance in years as the older Wilson. And after being rude about Elizabeth Banks' directing skills for "Pitch Perfect 2", I feel I have to express my admiration for her portrayal of perplexed astonishment as Melinda, a woman with a mission. Both extremely subtle and utterly enjoyable performances.

In contrast, the excellent Giamatti seems rather over the top as the scheming Landy, although internet articles suggest that it is a scarily accurate portrayal of the degree of control he exerted.

Directed by Bill Pohlad (someone normally found in the production office), it's difficult to fault such a lovingly crafted film. The pre-credits reference to a 'building scream' (I assume relating to the 'goose-bumpy' bit of "Good Vibrations") is never resolved. And (as I rather missed it in the film) the motives for Landy's extreme actions are a bit obscure (in reality, the Wilson family later discovered he was named as a 70% beneficiary in Wilson's will). However, this film, which deserved a broader and better-publicised release, stands as a superb tribute to an iconic musician and comes with a "highly recommended" from me.

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Reviewed by theonejackdry 3 / 10

Did he get the blue Cadillac?

I've been very puzzled by this movie. In the end, the central question of whether he got the blue Cadillac he comes to buy at the beginning, and which plays an essential role in the plot, is never elucidated. He never drives it, it's never delivered - actually he doesn't drive anything at all, he has a limo driving him around. So why did he come to buy a car in the first place. Somehow I feel I've seen this movie before, and it was called Rain Man.

Reviewed by moonspinner55 6 / 10

"I think it's an acquired taste." .. "Marriage?" .. "Matzah ball soup."

Brian Wilson, the leader/producer/arranger of the popular 1960s group the Beach Boys, stays behind in the US when his brothers and cousin Mike Love tour Japan in order to write songs and lay down instrumental tracks for their next album, "Pet Sounds". His busy, creative life, tinged with bitterness over his tumultuous relationship with his father (whom the band had fired as their manager), is juxtaposed with Wilson's life in the '80s as a shattered man inching his way towards a healthier, more normal existence. Vivid, though exposition-heavy shuffling of episodes in Wilson's life and career, with a fussy, somewhat overblown production design in the '60s scenes (where Wilson is played by the impeccably-cast Paul Dano) counterbalanced by a deceptively bland calm in the '80s (with John Cusack portraying the older Brian as a possible paranoid schizophrenic under the thumb of possessive therapist Dr. Eugene Landry). The screenplay by Oren Moverman and Michael Alan Lerner, "based on the life of Brian Wilson," is well-researched if overwritten; every introduction to somebody new on-screen is followed by needless dialogue covering who they are and what they do. Dano could not be better as the younger Wilson, emulating the musician's budding genius and unassuming ego with an introspective, nice-guy personality (until he's pushed, when he becomes defensive though never arrogant). By contrast, Cusack doesn't fare as well. Whether or not Cusack and director Bill Pohlad were aiming for an impersonation here doesn't matter, as the actor's brand of nervous self-doubts and sad regrets have been well-documented on film, making it difficult to accept him in this role; under different circumstances--say, in a roman à clef--Cusack's performance would be solid, but his casting here (perhaps for box office cache) doesn't quite work. The film is a near-miss, but entertaining on the whole, with terrific recreations of Wilson and LA's the Wrecking Crew making musical magic in the recording studio. **1/2 from ****

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