You will be redirected back to your article in seconds

Toronto Film Review: ‘Love & Mercy’

Paul Dano and John Cusack bring the Beach Boys' Brian Wilson to life in Bill Pohlad's vibrant cure for the common musical biopic.


Paul Dano, John Cusack, Elizabeth Banks, Paul Giamatti, Jake Abel, Bill Camp.

A wonderfully innervating cure for the common musical biopic, Bill Pohlad’s “Love & Mercy” vibrantly illuminates two major breakthroughs  one artistic, one personal  in the life of the Beach BoysBrian Wilson. Certainly more conventional than Todd Haynes’ fractured Bob Dylan collage “I’m Not There,” but miles removed from the cookie-cutter approach taken by so many other rock bios, this finely crafted split portrait should win over music nerds skeptical of yet another complicated life being reduced to a series of highlight-reel moments, and provided more mainstream auds are willing to take the trip, Paul Dano and John Cusack’s expert performances should attract an appreciative reception.

Alternating back and forth in time, Pohlad and screenwriters Oren Moverman and Michael Alan Lerner eschew a long-winded biographical approach in favor of two temporally specific parallel narratives. In one, roughly covering the period from 1965-68, Dano plays Wilson as he resigns from touring, masterminds one of rock ‘n’ roll’s greatest masterpieces, and finds his grip on reality slowly loosening. In the second, set in the 1980s, Cusack shows us Wilson as a broken, confused man under the pharmacological and legal thrall of manipulative therapist Eugene Landy (Paul Giamatti), finding unlikely love with a Cadillac dealer named Melinda Ledbetter (Elizabeth Banks), who will later become his second wife.

Following a very brief, unfussy montage of the Beach Boys’ rise to ‘60s pop superpowers, we see Dano’s Wilson, still boyish enough to pass for a standard teen idol, suffer a panic attack on a flight. Deciding to bow out of the group’s upcoming Japanese tour, he sets up shop in a recording studio alongside L.A. session masters the Wrecking Crew, with ambitions to record nothing less than “the greatest album ever made.”

As he produces what will eventually become “Pet Sounds,” the film does well to capture Brian’s giddy sense of unmoored creativity as he brings in scores of nontraditional instruments and seemingly illogical arrangements to “play the studio” and one-up his erstwhile competitors Phil Spector and the Beatles. Yet he’s nonetheless nervous of what his bandmates, particularly the literal-minded Mike Love (Jake Abel), will think of his experiments when they return. Worse still, his cruelly disapproving father Murry (Bill Camp) lurks in the wings, and Brian begins to hear scattered voices in his head, a condition first alleviated and later exacerbated by his embrace of LSD.

Inhabiting a far different scene, Cusack’s fortysomething Brian dodders around his beachfront mansion under the ever-watchful eye of Landy and his “bodyguards,” who have ordered Wilson to cut all contact with his family and even micromanage his diet. Heavily medicated to treat what Landy had diagnosed as paranoid schizophrenia, Wilson’s speech has been rendered into a series of seeming non sequiturs, yet Melinda seems to immediately understand him, recognizing a gentle soul desperate for connection, who retains a certain childlike trust despite years of exploitation.

On an aesthetic level, the two performances don’t really match. Dano looks, moves and talks with remarkable fidelity, his bushy bangs falling across his watery eyes, speaking softly through his chin whenever he isn’t thrusting his falsetto into the upper registers or hollering in moments of inspiration. Cusack hardly does any of these things and, aside from his loosely buttoned shirts and hands held rigidly downward, looks almost nothing like his real-life counterpart. Yet somehow this disconnect works, and Cusack’s avoidance of mimicry suggests a man who has lost nearly all lingering ties to the young man he once was.

Banks has the least showy of the film’s primary roles, but she does admirably subtle work with it nonetheless. In her first scene with Wilson, when their relationship is still merely that of customer and saleswoman, Brian begins to share all sorts of unprompted details about his jogging habits and the recent death of his brother Dennis, and Banks’ face registers a number of competing emotions, from alarm to compassion, all without dropping her professional smile. Gradually the two become a couple, much to Landy’s dismay. “I’m giving you unprecedented access here,” he says while attempting to lay insane ground rules for their relationship, and Melinda is later driven to help emancipate Brian from his cracked guardian.

Scenes of the elder Wilson also fill in a number of biographical details that the film’s nontraditional structure misses. In particular, Cusack’s dispassionate analysis of the sounds made by traditional spanking, versus those made by the beatings his father used to administer to him, is effectively horrifying.

Though best known for his long career as producer (“The Tree of Life” and “12 Years a Slave”), second-time-director Pohlad is quite confident behind the camera, using a number of potentially indulgent techniques to rigidly purposeful ends. For one, Wilson rarely occupies the center of the frame, lingering just slightly to the left or right, save for the rare moments when he attains emotional equilibrium. A 360-degree pan around a recording studio during the “Good Vibrations” sessions  with Wilson brothers Carl and Dennis idly tuning their instruments, cousin Love stewing in the control booth, and Brian all but hovering over two cellists  is wonderfully executed. Studio arguments between Love and Wilson are shot much in the style of Michael Lindsay-Hogg’s “Let It Be,” and a series of two-shots depict a contentious band meeting with clear yet unforced symbolism  in one shot, the assembled Beach Boys sit still by the shallow end of a swimming pool, their feet dipped in the water; in the reverse angle, Brian struggles to remain afloat in the deep end, his hair drenched and ragged.

Beach Boys fans will surely geek out on the “Pet Sounds” scenes, which see Wilson fussing over just the right amount of bobby pins to lay across the piano strings for the “You Still Believe in Me” intro, as well as the brief glimpses of Van Dyke Parks and Tony Asher. Photography is sharp, and ace editing eases the tensions between the two narratives, yet the real hero of the below-the-line crew is probably sound mixer Edward Tise, who creates elaborate mosaics of the sounds of silverware on porcelain, or the low thud of music bleeding through a soundproof room. (Indeed, the film’s depictions of drug hallucinations and psychological breakdowns are almost all sonically driven.) Atticus Ross’ haunting score reincorporates snatches of the Beach Boys’ effervescent melodies into something that sounds intriguingly similar to Animal Collective.

Toronto Film Review: 'Love & Mercy'

Reviewed at Toronto Film Festival (Special Presentations), Sept. 8, 2014. Running time: 120 MIN.


A River Road Entertainment and Battle Mountain Films production. Produced by Bill Pohlad, Claire Rudnick Polstein, John Wells. Executive producers, Ann Ruark, Jim Lefkowitz, Oren Moverman.


Directed by Bill Pohlad. Screenplay, Oren Moverman, Michael Alan Lerner. Camera (color), Robert Yeoman; editor, Dino Jonsater; music, Atticus Ross; production designer, Keith Cunningham; costume designer, Danny Glicker; art decorator Andrew Max Cahn; sound, Edward Tise; sound designer, Eugene Gearty; re-recording mixers, Chris Jenkins, Eugene Gearty; assistant director, Thomas Patrick Smith.


Paul Dano, John Cusack, Elizabeth Banks, Paul Giamatti, Jake Abel, Bill Camp.

More Film

  • Ari Emanuel Endeavor

    Endeavor IPO Filing Offers Details of Company's Financials, Leadership Pay Packages

    Endeavor’s IPO filing Thursday offers a hard look at the company’s financial performance during the past three years during a period of rapid growth for the company that’s home to UFC, WME, Professional Bull Riders and a clutch of other assets. Endeavor is generating solid free cash flow from operations and healthy adjusted earnings for [...]

  • Inside amfAR's Cannes Gala

    Inside amfAR's Cannes Gala: Mariah Carey, Kendall Jenner and Tiffany Trump

    Kendall Jenner caused a commotion when she arrived. Tiffany Trump went unrecognized until a member of the press pointed her out as she made her way down the carpet. And Mariah Carey flew in to perform a couple of songs. Welcome to this year’s AmfAR Gala Cannes, the AIDS organization’s annual — and largest — [...]

  • 'Mektoub, My Love: Intermezzo' Review: Abdellatif

    Cannes Film Review: 'Mektoub, My Love: Intermezzo'

    A simple but somehow atypical shot opens Abdellatif Kechiche’s new film: a serene closeup of a young woman’s face, as seen through the camera lens of Amir, a budding photographer still finding his perspective. Her expression is ambiguously tranquil, her long hair lightly rustled by a humid breeze, all softly lit by a sinking afternoon [...]

  • Crown Vic

    Thomas Jane's Police Thriller 'Crown Vic' Sells to Screen Media (EXCLUSIVE)

    Screen Media has bought North American rights to writer-director Joel Souza’s police crime-thriller “Crown Vic,” starring Thomas Jane and Luke Kleintank. The distributor closed terms during the Cannes Film Festival amid a competitive bidding situation between seven other suitors. Screen Media plans to release the pic this fall. “Crown Vic” premiered in April at the [...]

  • Colleen Bell

    Colleen Bell Replaces Amy Lemisch as California Film Commission Director

    Veteran entertainment executive and ambassador Colleen Bell will replace Amy Lemisch as director of the California Film Commission. Bell, who was appointed by Gov. Gavin Newsom on Thursday, has worked as a consultant since 2017. She was the U.S. ambassador to Hungary from 2014 to 2017. She held several positions at Bell-Phillip Television Productions, including [...]

  • Jon Feltheimer

    Lionsgate Posts Loss, Underperforms Wall Street Expectations

    Lionsgate has posted a quarterly loss and its revenues and operating income have come in under Wall Street projections, despite growth from its premium cable channel, Starz. The studio reported a net loss of $24 million, or 11 cents a share, with adjusted operating income of $103 million for its fourth fiscal quarter ended March [...]

More From Our Brands

Access exclusive content