{"id":12874,"date":"2015-09-11T00:25:51","date_gmt":"2015-09-11T07:25:51","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=12874"},"modified":"2015-09-11T00:49:36","modified_gmt":"2015-09-11T07:49:36","slug":"time-out-of-mind","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/time-out-of-mind\/","title":{"rendered":"TIME OUT OF MIND"},"content":{"rendered":"

The Oscar race just got real with the release of Oren Moverman\u2019s TIME OUT OF MIND.\u00a0 Led by a tour de force<\/em> performance by Richard Gere that is arguably the finest of his career, and one which should potentially garner him a Best Actor nomination, and unparalleled cinematography by Bobby Bukowski, TIME OUT OF MIND should be assured not only recognition comes awards time, but secure a place in the annals of cinematic excellence.\u00a0 If ever a film could be described as having “a soul”, this would be the one.\u00a0 TIME OUT OF MIND is masterful.<\/p>\n

\"time<\/a><\/p>\n

George Hammond is lost; lost to society and lost to himself.\u00a0 Barely functioning, he is one of the thousands of homeless on the streets of New York who recede into the concrete jungle, hiding from the world and from themselves.\u00a0 At first glance, it appears that George was once a respected member of society.\u00a0 Although worn, his coat and his shoes belie what is now a state of homeless poverty.\u00a0 Fleeting moments of lucidity in arguing with a stranger for the right to stay in a now abandoned apartment give indications of a higher education, but the synapses appear to be no longer be firing on all cylinders.\u00a0 George is alone.\u00a0 Whatever life he once had is gone.\u00a0 Even his wallet, any trace of identification are gone.\u00a0 He is, for all intents and purposes, invisible to society, to us, and as we eventually learn, invisible to his estranged daughter Maggie.<\/p>\n

George is part of the marginalized fringes to which society turns a blind eye and in which life revolves not around planning outfits for work or school, or making dinner reservations or deciding what movie to see, but rather, in moments of survival – where can he get a bed at night or shelter in inclement weather or a meager meal.\u00a0 But sometimes all it takes is one moment to create a spark of hope or life; one bit of connection with another human being that might help George find his way back.<\/p>\n

\"time<\/a><\/p>\n

For George, that spark comes from Dixon.\u00a0 An older experienced shelter-dweller, Dixon knows the ins and outs of the system and how to get a bed at night.\u00a0 Once the most famous insane asylum in New York, Bellevue Hospital has been repurposed and is now the largest homeless intake center and men\u2019s housing shelter in Manhattan.\u00a0 Dixon sleeps there almost every night.\u00a0 But there\u2019s a process.\u00a0 You need identification, you have to stand in lines, you have to abide by the rules, but you get a bed and a roof over your head.\u00a0 And once you get \u201cinto the system\u201d, you can get help with food and maybe even find your way back to the world you left behind.\u00a0 Although George is at first trepidatious at this offer of navigational help and this hand of friendship extended by Dixon, he soon takes that hand and the world starts to take on some color, some light, some life, some hope; hope that he might one day no longer be alone, but have his daughter back in his life.\u00a0 And as George slowly finds his way back to society, those around him – and us in the audience – begin to see him again.\u00a0 He is no longer invisible.<\/p>\n

\"time<\/a><\/p>\n

TIME OUT OF MIND is a visual masterpiece.\u00a0 The essence and style boil down to Richard Gere\u2019s introverted performance and Bobby Bukowski\u2019s lighting and lensing. Although there is minimal dialogue, so powerful is the one-two punch of Gere and Bukowski under Moverman\u2019s keen direction, that dialogue isn\u2019t even necessary.\u00a0 The city and its sounds are our dialogue.\u00a0 There is an almost cyclic randomness to this world and to George\u2019s very existence that fuels the film as a whole.\u00a0 Methodical in their cinematic construction, Moverman and Bukowski are meticulous and specific in their visual storytelling, creating a poetry with its dichotomous beauty and seeming simplicity.\u00a0 Visuals are alive and allow the city to live and breathe around the character of George, as if metaphorically suffocating him with the world as he gasps for air.<\/p>\n

\"time<\/a><\/p>\n

As the film opens and we meet a lost, hidden and invisible George, lensing is done through layers of windows, via reflections or reflections in mirrors, under and through scaffolding, doorways, arches, really isolating George from the world so that it is visually and emotionally palpable.\u00a0 He is a blur at best.\u00a0 An observational film, according to Moverman, \u201cWe wanted to create the perspective for the movie [as] the perspective of the city, the perspective of people living in the city rushing around living their lives.\u00a0 A man like this, you have to make an effort to see him, to really see him, to really pay attention to what\u2019s going on with him.\u00a0 So, we gave the perspective of the city which means you\u2019ll see him through windows, you\u2019ll see him through door frames, you\u2019ll see him through rooftops, you\u2019ll see him through shop windows, you\u2019ll see him with bicycles going by.\u00a0 All these things that are getting in the way with you engaging with this person, for whatever reason, but also kind of holding you back from engaging on a compassionate level.\u00a0 It\u2019s hard to feel compassion for people you don\u2019t really know anything about or engage with their stories.\u00a0 As we get deeper and deeper into the story, as you say, these obstructions start melting away to the point that by the end of it, the movie is really quiet; there\u2019s nothing in between him and the other characters he\u2019s interfacing with.\u201d<\/p>\n

\"time<\/a><\/p>\n

Using Hawk V-Plus anamorphic lenses, 300-900mm, the camera eavesdrops on George and the city swirling around him.\u00a0 Essentially carving out a horizontal canvas against the vertical upreach of the city itself, anamorphics suited the visual storytelling well in addition to providing a softer edge to the framing. With the 900mm, Bukowski and Moverman were allowed to remain completely removed from the actors to the point of being so distanced, no one even knows filming is occurring.\u00a0 There is never a cinematic intrusion so that the authenticity of not only Gere\u2019s performance but the world bustling around him are pure, genuine, something which only serves to showcase Gere\u2019s talent.\u00a0 A completely introverted and introspective performance, Gere is forced to play \u201cfrom the inside\u201d.\u00a0 There\u2019s no camera for him to play to.\u00a0 He is forced to be alive and present in the moment, forcing an internal performance.\u00a0\u00a0 Oren Moverman is still in awe of\u00a0 what Gere brought to the table.\u00a0 \u201cTo find external ways of showing [that] is so difficult and so challenging and he was able to do it every time which was really amazing to watch just from a spectator\u2019s perspective for me.\u201d<\/p>\n

\"time<\/a><\/p>\n

As the film progresses and George begins to interact more with people, with humanity, those early visual layers are stripped away in tandem with the emotional isolation.\u00a0 Color that is initially washed out, becomes brighter, more vibrant.\u00a0 Interesting is the use of the color red.\u00a0 Typically, one thinks of red as metaphorically referring to danger, anger or stop, but here, the color means something more as it tacitly provides a dual meaning for love and the father-daughter dynamic, particularly when the most vivid reds are always seen around the character of Maggie.<\/p>\n

\"time<\/a><\/p>\n

With visuals and emotion walking together, as there is emotional growth and reconnection, lensing becomes more personal, more connected.\u00a0 There are fewer scenes shot through glass or in doorways.\u00a0 Bukowski moves the camera in closer.\u00a0 Depth of field changes.\u00a0 And ultimately, we see quiet and stillness and the one scene in the film where the camera itself moves in a tracking shot.\u00a0 Neither the camera, the audience or George just observe.\u00a0 They live.<\/p>\n

\"time<\/a><\/p>\n

Sound design is an essential part of Moverman\u2019s construct with TIME OUT OF MIND and is, in fact, its own character just as the city is a character.\u00a0 We are immersed, as is George, in the cacophony of the city obfuscating so much and adding to those layers of windows and mirrors and doorframes and bridges and construction.\u00a0 Then slowly the sound peels away along with the visuals as George finds himself.\u00a0 Sound was criucial to Moverman who succinctly notes, \u201cthe sound of the city and the sound of the city is quite insane if you listen to it. All of us are quite trained to block things out so we can actually maintain our sanity, but for a character like George who is not able to filter things out, who is not able to rush around and life his life but is actually just living moment to moment through his needs of warmth and shelter, a bed and food, all these basic needs, he can\u2019t block those sounds out.\u00a0 So we threw everything in.\u00a0 As you know in NY, sound is one of the most overwhelming elements of existence here and a lack of any kind of quietness.\u00a0 Then just the overwhelming decibels that it gets to is a lot.\u00a0 We really wanted to push the envelope and get as far as we can with that sound to reflect the sound of the city but also reflect his mindset.\u201d\u00a0 The result is flawless.<\/p>\n

\"time<\/a><\/p>\n

Quite compelling are scenes between Dixon and George which presumably occur within a homeless shelter.\u00a0 You may be surprised to learn, as I was, that that is actually the men\u2019s shelter inside Bellevue.\u00a0 As Moverman relates, \u201cWe were allowed to film in Bellevue for an entire night which meant that we had to work very very fast.\u00a0 While over 800 men were sleeping around us, we shot those scenes of Richard [Gere] standing in line to get into the intake center. . .go through security, go through the intake process, get those questions and then kind of get his bed, and then be woken up early.\u00a0 We literally went through the entire process every human being who walks into that place would go through; with some alterations for time, basically.\u201d\u00a0 Enabling a deeper realism and naturalism, it serves to strengthen the audience\u2019s immersion into the idea of \u201cwalking a mile in George\u2019s shoes.\u201d<\/p>\n

\"time<\/a><\/p>\n

As George, Gere is virtually unrecognizable.\u00a0 Disheveled, confused and virtually invisible, his own transformation and immersion was so powerful, so believable, that on the streets of New York no one realized this dirty grizzled panhandler was even an actor, let alone Richard Gere.\u00a0 On screen, one forgets this is Richard Gere delivering a performance.\u00a0\u00a0 The tacit strength of Gere\u2019s sheer emotional power is overwhelming.\u00a0 Internalizing emotion, Gere constructs George withe physical nuance; a shuffle, a hunch, blinking eyes blinded by daylight, a look of bewilderment or despair.\u00a0 He is resonant.\u00a0 By disappearing, by becoming invisible, he makes us look even more intently, feel more intently.\u00a0\u00a0 Gere mesmerizes with every step of George\u2019s journey, eliciting emotions that range from disgust to pity to unwanted sympathy to empathy to hope.\u00a0 His performance is raw, visceral, unfiltered.\u00a0 He silently directs our attention to George and makes us want to look beyond those double and triple layers of windows, seeking clarity and understanding of the man and by extension, the disenfranchised as a whole.<\/p>\n

\"time<\/a><\/p>\n

Startling cameos are also found from Kyra Sedgwick, Steve Buscemi and Geraldine Hughes while Ben Vereen shines like a guardian angel as fellow homeless Dixon.\u00a0 Vereen is almost the equivalent of a guide, leading us through the inner workings of the homeless system in New York, all of which comes from Moverman and Gere meeting with not only the homeless themselves, but\u00a0 guards, administrators, people from the Coalition for the Homeless, former homeless turned activist, determined to shine a truthful light.<\/p>\n

\"time<\/a><\/p>\n

But then there\u2019s Jena Malone.\u00a0 Described by Richard Gere as \u201cstrong and present in her character”, as George\u2019s daughter Maggie, Malone is heartbreaking.\u00a0 You know there are daughters out there who have gone through something similar, are going through something similar.\u00a0 Malone nails it.\u00a0 And in the film\u2019s climactic scene, fair warning.\u00a0 Have tissues in hand.\u00a0 Malone nails truth, emotion and love in fell swoop.\u00a0 As the light and the hope of TIME OUT OF MIND, Maggie also represents what the audience is experiencing.\u00a0 As Malone describes it, \u201cShe represents turning hat blind eye, the dissatisfaction, the anger, the \u2018you need to do it for yourself\u2019 point of view that a lot of people take with people who become homeless or choose more of the out of societal norm way of living their life.\u00a0 She\u2019s very much where the audience is in the sense of judging him and telling him that he needs to take care of his own. . .It\u2019s a very hard thing and I feel what this film does and what Maggie gave me is the bridge to be able to say, \u2018Yes.\u00a0 I see your humanity.\u00a0 I don\u2019t judge you and I\u2019m not scared of it.\u00a0 I no longer see you as a black hole.\u00a0 I see you as a human being.\u00a0 And I see your humanity and I see your choices and I respect them.\u2019\u201d<\/p>\n

TIME OUT OF MIND.\u00a0 A mirror of society.\u00a0 A mirror of ourselves.\u00a0 A masterful piece of filmmaking.<\/p>\n

Written and Directed by Oren Moverman
\nCast:\u00a0\u00a0\u00a0\u00a0 Richard Gere, Ben Vereen, Jena Malone, Kyra Sedgwick, Steve Buscemi<\/p>\n","protected":false},"excerpt":{"rendered":"

The Oscar race just got real with the release of Oren Moverman\u2019s TIME OUT OF MIND.\u00a0 Led by a tour de force performance by Richard Gere that is arguably the finest of his career, and one which should potentially garner him a Best Actor nomination, and unparalleled cinematography by Bobby Bukowski, TIME OUT OF MIND […]<\/p>\n","protected":false},"author":2,"featured_media":12888,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,9],"tags":[3382,3381,3384,3383,3386,3385,2405,1986,3387,3380],"class_list":["post-12874","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-reviews","tag-ben-vereen","tag-bobby-bukowski","tag-homelessness","tag-jena-malone","tag-kyra-sedgewick","tag-new-york","tag-oren-moverman","tag-richard-gere","tag-steve-buscemi","tag-time-out-of-mind"],"yoast_head":"\nTIME OUT OF MIND - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/behindthelensonline.net\/site\/reviews\/time-out-of-mind\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TIME OUT OF MIND\" \/>\n<meta property=\"og:description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/behindthelensonline.net\/site\/reviews\/time-out-of-mind\/\" \/>\n<meta property=\"og:site_name\" content=\"Behind The Lens Online\" \/>\n<meta property=\"article:published_time\" content=\"2015-09-11T07:25:51+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-09-11T07:49:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2015\/09\/time-out-of-mind-12.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"676\" \/>\n\t<meta property=\"og:image:height\" content=\"474\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debbie lynn elias\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"debbie lynn elias\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/time-out-of-mind\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/time-out-of-mind\\\/\"},\"author\":{\"name\":\"debbie lynn elias\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#\\\/schema\\\/person\\\/2d9b602095eb0ce3d363efb75ad0b5d4\"},\"headline\":\"TIME OUT OF MIND\",\"datePublished\":\"2015-09-11T07:25:51+00:00\",\"dateModified\":\"2015-09-11T07:49:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/time-out-of-mind\\\/\"},\"wordCount\":2231,\"publisher\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/time-out-of-mind\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/wp-content\\\/uploads\\\/2015\\\/09\\\/time-out-of-mind-12.jpg\",\"keywords\":[\"ben vereen\",\"bobby bukowski\",\"homelessness\",\"jena malone\",\"kyra sedgewick\",\"New York\",\"oren moverman\",\"Richard Gere\",\"steve buscemi\",\"time out of mind\"],\"articleSection\":[\"Movies\",\"Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/time-out-of-mind\\\/\",\"url\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/time-out-of-mind\\\/\",\"name\":\"TIME OUT OF MIND - 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