Review of The Fabelmans (2022) by Wl-Hume — 11 Nov 2022

I remember my first childhood experience in the cinema with my brother going to see X-MEN. Coincidentally filming of that movie took place at Roy Thompson Hall where the screening of this movie was. In the film Sammy Fabelman, as Spielberg’s onscreen proxy, witnesses The Greatest Show on Earth. His first childhood cinematic experience. The Fablemans does not match the experience of seeing X-MEN or The Greatest Show on Earth for the first time, but its recreation of childhood may be enough to inspire others to go out and do the same. If you ever wish you could go back to when you were younger with all the knowledge you know now, Spielberg has the solution: make a movie.

It was my favourite film of 2022. This is a director who has made 33 films over 4 decades and his talent and experience show. It’s fun to spot the references to Spielberg’s other work during the film.

What I was most worried about going into the film was Spielberg’s writing. He’s not known for being a writer. His dialogue is plainspoken, tin-eared, and a little corny. Yet he’s smart enough not to try and make poetry. The dialogue is simple enough for an 8-year-old to understand. Even though Dad (Paul Dano, low key) explains in groan-inducing technical terms how movies work, reciting what sounds like the first page out of a film studies book. It still is earnest.

The script for the movie started with his sister Anne in the 90s. She is known for writing the Academy Award-nominated script for the Tom Hanks movie Big. Funny enough, in the movie she is portrayed onscreen in by Julia Butters. When she tells young Sammy he should make more movies starring girls. It’s definitely an acknowledgment of his limitations.

The female lead characters in Ready Player One (Art3mis) and West Side Story (Maria) demonstrate his growth in directing female characters. But his female lead here Mitzi is a step back.

Michelle Williams plays the mother Mitzi. Reaching for the emotional highs of her previous character in Blue Valentine, Williams dials it up. However, the screenplay doesn’t lend the necessary depth to support her character. So in her overacting, it feels closer to Venom: Let There Be Carnage. Her best moment comes when she brings her children out of the house towards a literal tornado. “Is it safe?” One of the daughters asks. “Of course it’s safe, I’m your mother!” A resonant moment that succeeds at making Mitzi interesting. But the film doesn’t counterbalance her zaniness, rendering her cartoonish.

A Best Actress Oscar campaign is underway to promote Williams. She isn’t a Lead, but it looks like Spielberg is trying to perfect his record. In the last decade, his films have collected Oscars in all other acting categories.

I wanted more of Sammy’s complicated relationship with his father Burt. The father-son dynamics of Spielberg’s films are often a highlight. It’s clear the director wanted to focus on the nourishing creativity Mitzi provided, but greater closure for the father character was needed. The rest of the family is supportive, so the father is the main opponent. However, thanks to the film’s focus on Sammy’s internal journey, the external relationships matter less.

The Fabelmans is able to make up for its shallowness in two ways; direction and acting. Because his parents are so distinct, Sammy’s conflicts remain clear. Gabriel LaBelle is perfect as Sammy. He’s given heavy material but doesn’t overdo it, landing several emotional beats with the right touch. A showdown with a high school bully nails Spielberg’s quiet and not-so-quiet confidence. The family ensemble gives the movie its heart. Particularly Seth Rogen in his final scene. It’s far from Rogen’s best work, but the audience did get a kick out of hearing his iconic laugh. Such touches remind you there’s real life put into these roles. It all adds up to Spielberg’s biggest emotional punch in decades.

Despite the heavy subject matter, there is a lightness to it, it is literally Spielberg. The brilliance is knowing he’ll land on his feet. Perfect for a coming-of-age film. Whenever Sammy contemplates quitting there’s fun in waiting to see what inspiration strikes for him to pick up the camera again. The movie doesn’t kid itself. The setbacks Sammy faces are temporary. As bad as things get, and they can get pretty bad during high school, there is still light at the end of the tunnel.