Film review of St Vincent

(This review of “St. Vincent” appeared in different form in the Australian Jewish News on 15 January 2015, under the title “Sobering lessons of life”.)

Directed and written by Theodore Melfi
Starring Bill Murray, Melissa McCarthy, Naomi Watts and Jaeden Lieberher

There are a number of certainties about the new Bill Murray film “St. Vincent”. The film is way better than its promotional trailer, unlike some where the trailer is the only thing worth watching. It’s a genuine starring vehicle and a virtually certain Oscar nomination for Murray, who has already received a Golden Globe nomination. He plays Vincent McKenna, an alcoholic down-on-his-luck Vietnam veteran who accidentally ends up looking after his new neighbour’s child, Oliver Bronstein (12 year-old Jaeden Lieberher).

Oliver is the son of a single mom, x-ray technician Maggie (Melissa McCarthy), who has recently had an unhappy split from her husband and moved to the Sheepshead Bay section of Brooklyn for her new hospital job. Maggie enrolls Oliver in a Catholic school, despite the fact that he is Jewish (“I think”), revealed in his first scene with his lovable teacher Brother Geraghty, played by Chris O’Dowd (“The Sapphires”), when Oliver is asked to lead the class in prayer. Oliver’s lack of Catholic prayer knowledge, rather than an embarrassing disaster, becomes a time when most of his class offers their religious beliefs (“I’m a Buddhist”, “I’m an atheist”, etc) – shades of an early scene in Woody Allen’s “Annie Hall”. Brother Geraghty then has one of film’s funniest speeches, in which he talks about how good it is to be a Catholic, “because we have the best clothes and the most rules”.

Although religion plays only a minor role, “St. Vincent” is ultimately a film about redemption, giving and growing, all done in a mostly non-ecumenical manner: the title is a giveaway. There are no prizes for guessing the plot. Grumpy ageing and angry man gets humanised, nerdy picked-on kid gets more confident and his stressed out mom gets more settled. “St. Vincent” is not a surprising film, but a charming one.

Part of its charm is in the performances. Bill Murray shows that he can, indeed, act, although his performance is less about subtlety and more about fully inhabiting a very flawed character. Melissa McCarthy convinces, and Naomi Watts appears in a cute but predictable role as a Russian prostitute with a heart of gold.

There are some odd real-life resonances in “St. Vincent”, which make the film a bit more poignant for those “in the know”. Young Jaeden Lieberher, like his character Oliver, is Jewish. Like Oliver again, he moved with his mother from one city to another – from Philadelphia to Los Angeles to act in films. Numerous people have commented that “Bill Murray must be just like that in real life”. I am not so sure that the crotchety character we see on-screen is anything other than good acting. Murray puts his ability for understatement to good use (think “Groundhog Day” and “Lost in Translation”), giving us a performance of surprising depth in what appears at first to be a broad comedy but ultimately becomes much more than that.

There is at least one unexplored theme in “St. Vincent”, having to do with a bank account opened for Oliver, setting up a deep disappointment that is never realised. That led me to believe that the film-makers did some very judicious editing to make the film flow better. They have succeeded.

St Vincent poster


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