‘Everybody’s Fine‘, the 2009 American family drama by director Kirk Jones, offers the opportunity for a series of interesting reflections on the passing of cinematic time. Why do some older films seem contemporary, while other films, made a decade or two ago, are showing signs of early ageing? ‘Everybody’s Fine‘ is a remake of a 1990 Italian film directed and (co-written) by Giuseppe Tornatore, which featured Marcelo Mastroiani. In the American version, Robert De Niro takes on the role of the father remained alone after the death of his wife, who will embark on a journey across America in search of his children. To say that ‘the remake does not live up to the original’ seems trivial, but the statement seems to me correct in this case as well. The feeling is accentuated by elements of outdated cinematography that make the film look older than the 13 years that have passed since its making. It is not just about mobile phones, which have become a common means of communication for everyone, that would make many of the details of the story obsolete. There were, however, plenty of heartwarming moments in the 2009 version, and the joy of seeing Robert De Niro in the first of a series of maturity roles that cemented his position as one of the premier actors of his generation.
The film’s hero, Frank Goode, remained alone at his retirement age after his wife’s death. He would have enough reasons to to find consolation in the achievements of his children, to whom he dedicated his life’s work, and who, spread throughout America, seem to be enjoying success as – respectively – plastic artist, advertising manager, symphonic orchestra conductor and Las Vegas dancer. He also enjoys the satisfaction of having performed a useful, if not very spectacular, job – Frank manufactured insulation for the telephone cables that instantly connect people across America. Loneliness bothers him, however, and when the four children cancel one after the other participation in a weekend he wanted to spend with them, Frank decides – against the advice of his personal doctor – to go on a trip to meet each of them. But the realities don’t exactly match what Frank knew about the children’s situations, and every meeting, when it happens, seems to be a failure.
Inter-human communication is the main theme of the film. Professionally immersing himself in the technical aspects, dedicating his life to the success of his children, Frank seems to have missed the direct communication with them. The screen rendering of the story is uneven. The road trip part with the random meetings with the inhabitants of deep America seemed to me the best. Some of the metaphors proposed by the script work very well, but others are too explicit – especially the nightmare scenes, the imaginary dialogues with the children or the monologue at the cemetery. Robert De Niro is terrific throughout. This is one of his best roles (and not a gangster one!). The parent-child relationship allows De Niro to meet on screen with some of the most interesting actors of the younger generations: Drew Barrymore, Kate Beckinsale, Sam Rockwell. There are many good reasons to see this film, but also the Italian original one that inspired it.