Extremely Loud and Incredibly Close is the most objectionable kind of manipulative and sentimental Hollywood exploitation, but because it deals “sensitively” and “respectfully” with a large and noble subject – New Yorkers dealing with the aftermath of 9/11 – the movie all but begs to be treated as a sacred object.
The plot involves Oskar, a nine-year-old boy with Asperger syndrome who, a year after his loving father perishes in the World Trade Center on 9/11, finds a key among his father’s belongings. With few clues to go on, he goes on a carefully planned expedition through New York City to find the lock that the key fits. He thinks he may find something that might reconnect him to his dad. Then again, the search itself is a way of reconnecting since his father used to lead the child on similar expeditions in the city.
Adapted from a novel by Jonathan Safran Foer, the film (directed by Stephen Daddry from a script by Eric Roth) possibly could have worked with less schmaltzy treatment, less intrusive music and fewer Hollywood moments (the boy expresses his anger, grief and frustration by smashing things not one or twice but three times).
Another problem is the boy himself. Actually, I’m not sure if it’s the boy or Thomas Horn, the non-actor who plays him. Maybe it’s a little of both.
Partly because of his condition, Oskar is a piece of work – extremely intelligent, methodical, willful, emotionally skittish and easily frightened (though he wanders the city alone every weekend looking for the lock his key will fit). He’s hard to get near, yet he’s in nearly every scene on top of narrating the movie. Perhaps a different actor could’ve made the time we spend with Oskar more bearable.
The boy encounters all kinds of people on his journey, most of whom open their doors and hearts to him. He isn’t looking to make friends, but these strangers share their stories and a little bit of their lives with him.
The film has some fine performances, particularly from Tom Hanks as the loving father who is largely seen in flashback, Sandra Bullock as a mother who is unable to connect with the child and Max von Sydow, as a speechless neighbor the boy encounters who accompanies him for part of the time on his search.
Viola Davis and Jeffrey Wright also register strongly as people he encounters.
The relationship between von Sydow’s enigmatic character and the boy is one of the most interesting aspects of the story, but unfortunately it is of limited duration.
I’m not one of those people who feel that certain subjects should be off limits to filmmakers, nor am I one of those critics who resent movies that make me shed a tear. But with this subject, a film shouldn’t have to try hard to stir emotion in the audience. Filmmakers that exert themselves this hard and in such hackkneed ways to elicit tears shouldn’t be allowed anywhere near 9/11.
Eric Harrison has reported on film and reviewed movies for the Los Angeles Times and the Houston Chronicle, where he was chief film critic for five years. He has won awards for his film criticism and reporting. He teaches journalism at Texas Southern University in Houston. 