The film brings together Emilia Clarke, the “Game of Thrones” alum who gained recent success with “Star Wars’” latest iteration “Solo,” and Sam Claflin from last month’s “Adrift.” Claflin plays a handsome quadriplegic named Will; Clarke plays Lou, a girl struggling to support her family on dead end jobs in a small English town. She has a boyfriend, Patrick, and meets the disabled Will when she’s hired by his wealthy mother as a caretaker. “Me Before You” has some familiar territory, broaches the elements of a love triangle, all while sweeping the depths of melancholy. But, mind you, this is not a rom-com. This is a sweet film, a testament to the human spirit and the effect we have on others, often for reasons we can’t fully comprehend.
“Me Before You” position itself early on with familiar tropes, even if we suspect resolutions are in the works. We have Will, who lives in a castle, is unkempt, unshaven, and miserable. A position for his caretaker has remained vacant for some time. Examining his prickly demeanor, it’s not hard to understand the reason for that. Convention dictates Lou will try to warm his heart, just as it dictates she will likely succeed. But this film, directed by Thea Sharrock and based off the novel by Jojo Moyes, is smart and makes the film as much about her journey as Will’s.
We learn more: Will, a rich man who two years ago had his whole life ahead of him, no longer wants to live. He wishes to take his life. His parents argue on what is the best course; as does Will’s in-home nurse. “I want him to live,” he states. “But only if he wants to live.”
The film does many things right. It paints the quaint English town in vibrant colors, is crisply digital, and infuses a solemnity into the picture that is hard to describe other than emotional. It deals with heavy themes: of disability, of despair, suicide, agony, and absolution. Its emotional footprint shares notes of a smart indie I watched this year, “Just Say Goodbye.” Both films deal with radiant souls who try and convince desperate folks life is worth living. It’s through the attempts of these characters that we glean what suicide’s intended victims have to lose. But it’s also through its intended victims that we are able to feel what they feel – the sadness, the regret, the pain…its lugubrious reality.
The film’s acting is believable, and Claflin and Clarke have nice chemistry together. Clarke shows wonderful acting potential, and brings Lou to life in ways that are kind and real. She shares notes of a character she played in a short indie entitled “Shackled,” where she imbues a similar vibrance with little dialogue and only visuals. She’s an awe to watch; and getting involved in films like this only helps her career.
Similarly, Claflin does well, convincing us of his pain; and, in an unlikely way, his love for Lou and what she represents. “Me Before You” isn’t one of those love triangle films where one must hurt one to love another. Lou and Patrick have their quarrels and we understand things may not be as solid here as initially thought. Likewise, she and Will don’t fall in love and walk into the sunset. This isn’t that kind of film. It’s a movie about understanding, respect, and the best kind of love: selflessness and acceptance. As Will’s situation becomes more desperate, Lou tries to change his mind. She helps him to smile again; he helps her move toward a potential she’s been afraid to realize her whole life.
The cinematography of the film comes together for a purpose, and the filmmakers play with the use of color here to marvelous effect. Will resides in a grey castle and lives a drab existence. Lou dresses in brights: polka dotted dresses, blues, pinks, and audacious yellows and stripes that clash. Clarke wears them well; they are an expression of her vibrant spirit. In many ways, Clarke becomes the MVP of this film. It’s her sweetest performance to date; especially for one who gained much fame as the feared and commandeering ‘Mother of Dragons’ on HBO’s “Game of Thrones.”
This is a sweet film. It’s kind, pensive, and bittersweet. It deals with real emotions, explores them maturely, and ends the only way it can. If you’re looking for dramatic decorations of love or salvation, this isn’t the film for you. It’s slightly surface, but is naked and real. A thoughtful picture through and through.
– by Mark Ziobro
