A trio of legendary performers effectively anchor the appropriately melancholy His Three Daughters

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A trio of legendary performers effectively anchor the appropriately melancholy His Three Daughters

As a film enthusiast with a penchant for poignant and character-driven narratives, I must say that “His Three Daughters” has left an indelible mark on me. The story of three estranged sisters navigating their father’s final days is not only heartrending but also deeply resonant, particularly for those who have had to face similar circumstances.

The straightforward fact is that he’s nearing the end of his life. This sobering revelation from Katie (Carrie Coon) sets the somber tone for His Three Daughters. Vincent, the father to Katie, Rachel (Natasha Lyonne), and Christina (Elizabeth Olsen), is approaching death. As he’s now in hospice care at his apartment, these once estranged siblings have come together during his final days. For years, Rachel has been living with and caring for Vincent. Now, Katie and the compassionate caregiver Christina are lending their support in their father’s final moments.

As a fan, I can’t help but be deeply moved by the complex dynamics of these three sisters who share a common father. While they all carry his genes, their lives and experiences have diverged significantly due to differences in age and family background. The fact that Vincent married Rachel’s mother when she was young while Katie and Christina are his biological daughters has sown seeds of strife between them. The tension between Katie and Rachel, in particular, is palpable and constant. Now, under the somber shadow of their father’s impending departure, these sisters must face their internal struggles head-on. An even more profound question looms over them: can this trio forge a bond that transcends the father-daughter relationship once he is gone?

In 2008, filmmaker Azazel Jacobs presented “Momma’s Men.” This semi-autobiographical tale set in Manhattan revolves around a man who returns to his childhood home and stubbornly refuses to leave. More recently, Jacobs revisits the theme of returning to one’s New York roots. Unlike “Momma’s Men,” which focuses on isolation from contemporary life and adulthood obligations, “His Three Daughters” portrays an older Jacobs (comparable in age to Vincent rather than Christina) addressing the inevitability of time’s relentless progression. In contrast to the earlier film, returning to familiar surroundings under such somber circumstances intensifies conflicts among the three main characters instead of providing protection from hardship.

In this script, Jacobs skillfully crafts dialogues that highlight the talents of the main actors, particularly Natasha Lyonne. Her ability to handle somber and pain-filled scenes is remarkable. What makes her performance stand out is her unique blend of voice, body language, and expressiveness. Despite this idiosyncratic style, she seamlessly adapts to different characters, a trait reminiscent of early 20th century movie stars.

It’s truly refreshing as a fan to witness Elizabeth Olsen stepping out of her Marvel roles and into the compelling character of Christina in “His Three Daughters.” What makes this performance even more impressive is that she masterfully navigates the delicate balance between Rachel and Katie, embodying the calm, affectionate heart of the trio. Unlike some actors who might have overplayed this role, Olsen brings a stunning authenticity to Christina. Her subtle expressions, such as the quick flurry of emotions she displays after being called “weird” on a park bench, breathe life into this character in a way that feels incredibly real.

Jacobs and cameraman Sam Levy initially position the powerful performances in His Three Daughters in close, individual settings. For about the first half-hour of the film, sisters Rachel, Katie, and Christina seldom share the same screen space. Instead, they are often presented individually, typically centered in medium shots. Even when conversing with each other, one sister is usually displayed on-screen at a time. The most captivating interpretation of this visual theme occurs in a single shot where Rachel and Katie appear together. In this uncut scene, Katie enters Rachel’s room, knocks, and the door slightly opens. The camera then angles down, concentrating on Rachel’s face as Katie scolds her for smoking marijuana inside the house.

In this scene, Rachel and Katie appear together on screen, but it’s only Katie’s upper body that’s visible. When Rachel exits, Katie’s face reappears. Throughout the shot, Jacobs effectively highlights the separation between these siblings. Additionally, Vincent is mostly kept out of sight, his non-presence in His Three Daughters serving to underscore his mental deterioration. The framing choices here, mirroring Chinonye Chukwu’s technique in Clemency, powerfully convey the emotional distances within this small apartment.

That’s one of the more intriguing visual details in His Three Daughters, which otherwise opts for standard framing with its dialogue-heavy narrative. Speaking of dialogue, the screenwriting from Jacobs functions best with emotionally jagged phrases. Katie and Rachel’s messiest interactions, for instance, really soar in depicting an authentically troubled sibling dynamic. Other more didactic pieces of dialogue feel incongruous to the rest of the proceedings. Jovan Adepo’s supporting character Benjy especially suffers from these problems. Even an actor as skilled as Adepo can’t make some of his character’s frank phrasing click into place.

It’s a relief that the significant emotional moments in the “His Three Daughters” script are treated with great sensitivity. This is particularly evident in the captivatingly bittersweet ending, which, on paper, could turn out to be overly sentimental. However, in execution, it proves to be incredibly moving. Above all, “His Three Daughters” showcases the remarkable acting skills of Coon, Lyonne, and Olsen. If you have only one reason to watch “His Three Daughters” immediately, it’s to appreciate their exceptional talent. Alternatively, you might be a dedicated fan of Azazel Jacobs, eager to witness him returning to his creative stride following the 2021 setback with “French Exit.

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2024-09-20 14:14