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Director Robert Zemeckis (“The Walk,” “Polar Express”), known for his penchant for experimenting with technological advances, reunites Tom Hanks (“Saving Mr. Banks,” “Captain Phillips”) with Robin Wright, 30 years after they starred in “Forrest Gump.”
In “Here,” they are de-aged down to more than 40 years with remarkable believability, although it's clearly not perfect and noticeable in some aspects. The de-aging technology, combined with the fixed camera angle framing the spot, which eventually turns into a window-facing living room, as well as vignette storytelling style, results in a unique film. It also appeals as a family movie or something to watch together during the holiday season.
“Here” begins all the way back in time, zooming in on the exact same spot where the eventual living room would exist – when dinosaurs roam free on Earth, meteor strikes, ice age, greening of the planet, and human civilization.
The story is told in numerous vignettes non-linearly, going back and forth between pre-colonial, colonial, jazz era, war periods, early and mid 20th century, and the current 21st century. The view seen from the same window turns from the lush forest into the house across, people, street, horse-drawn carriages, steam engine cars and modern vehicles.
Multiple couples and families occupy the house, and the story flashes back and forth, although the Young families, starting in the 1940s and all the way through the present time, are the focus of the film. Al (Paul Bettany, “Transcendence,” “The Avengers” series) and Rose (Kelly Reilly) first make the house their home. Al is dealing with the aftermath as a soldier returning from war. Rose, being a woman of that era, is the dutiful housewife and mother, with no other option.
Richard (Tom Hanks) is the Young's son and Margaret (Robin Wright) is his girlfriend. Richard has a passion for painting and Margaret aspires to be a lawyer. Their dreams come crashing down when Margaret becomes pregnant at 18. Richard has to earn a living and turns into sales and Margaret becomes a housewife.
When Violet, their daughter, is born, the multi-generational families continue to live in the same house due to financial reasons, even as Margaret really wants to move out and have a place of their own. Through time, they get older and realize that the lives they build together are no longer what they want. They discover themselves, grow, drift apart, although they still love each other.
The way the movie is filmed makes it like a stage play. Contrivance is inevitable with the one-room setting, and sometimes scenes are cut and fade away before an emotional element truly makes an impact. The sheer number of characters doesn't allow us to get to know most of them. Understandably, the film has its critics. It might have been better if the stories were told linearly, still, it's easy to follow the Young families and feel invested in their lives. A throughline from the earliest native American couple makes a sentimental surprise.
The film touches on patriarchy, slavery, war, sexism, women's agency and independence, racism, and the pandemic. Life events happen and evolve through multiple families over a 100-year period in the house. House search, coupling up, domestic bliss, pregnancy, wedding, birth, kids, career, aging, illness, death, funeral service, reunion, celebrations and holidays. Happiness, heartbreak, tears, struggles, success, fights, loss, grief, love, laughter and joy are seen or heard from the same vantage point. Right here, these same walls witness so much history and significance.
Through centuries and generations, “Here” is a full circle of life, filled with moments, milestones and memories.
