{"id":16122,"date":"2023-04-05T23:30:58","date_gmt":"2023-04-06T03:30:58","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=16122"},"modified":"2023-12-12T03:27:18","modified_gmt":"2023-12-12T08:27:18","slug":"paint-review-a-sappy-film-about-death-and-resurrection-in-vermont","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=16122","title":{"rendered":"“Paint” Review : A Sappy Film About Death and Resurrection in Vermont"},"content":{"rendered":"\r\n

Though the first half hour of Brit McAdams\u2019s Paint<\/em> <\/strong>flows about as fast as maple syrup in January, it\u2019s worth enduring the long, slow drip as the buckets of this sappy, laid-back film inexorably fill with sweetness. Perhaps \u201cbittersweetness\u201d is a more appropriate term, for Paint<\/strong> <\/em>depicts\u2014albeit with a muted color palette\u2014the saga of one Carl Nargle, a fiftysomething Vermont artist long past his prime, played competently by Owen Wilson. (Nargle\u2019s fictionalized character is based on the real-life Bob Ross, whose Joy of Painting<\/em> show ran on PBS back in the 1990s.)

I must admit I was about to sink into deep hibernation until shaken awake by several comedic irruptions around the half-hour mark. First, there\u2019s the poignantly hilarious scene where Nargle drives his battered van through the streets of Burlington, Vermont to steal newspapers from mailboxes so subscribers will not read of his dismissal from the how-to-paint show he\u2019d hosted for decades on the local PBS channel, much to the displeasure of his dwindling, nursing-home audiences. Second, there\u2019s the rollicking depiction of the channel\u2019s annual fund-raising art auction, a pointed satire on how art has become the handmaiden of TV ratings and revenue. Both these priceless scenes belong in the opening minutes of the film, where they might have signalled to attention-challenged viewers like myself that it\u2019s worth sticking it out till the sap runneth over.

Paint<\/em> <\/strong>is thus one of those charming sleepers that leaves a pleasant taste in your mouth once you\u2019ve stuck it out till the final credits scroll by. Ultimately, you realize that you\u2019ve come to love the perfectly imperfect Carl Nargle.

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You\u2019ve come to identify with this fellow mortal who has\u2014like yourself\u2014postponed creating his masterpiece out of fear and timidity. You\u2019ve come to empathize with this Everyperson who is instead content with cranking out mediocre paintings day after day after day until he\u2019s amassed some four thousand manneristic depictions of a bucolic Vermont landscape\u2014all while engaging in a long series of failed romances. Carl Nargle seems the perfect poster child for that stereotypical definition of insanity as doing the same thing over and over while expecting different results.
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Things begin to fall apart when Nargle loses his job at the TV station, replaced by a perky twentysomething woman named Ambrosia\u2014I hesitate to dwell on her name’s obvious references to both \u201csap\u201d and \u201csapphism.\u201d Then Nargle gets booted from his gig teaching painting at the local university, stung by his students\u2019 preference for Ambrosia. The final blow comes when the director of the Burlington Art Museum dashes Nargle\u2019s lifelong dream of having his paintings hung there, wondering whether the artist has never authentically painted from his soul.

Dejected but determined to make a fresh start of things, Nargle has his signature hairdo sheared off by his barber, who offers him \u201cmedical marijuana\u201d and a vial of gummi-bear candies as a parting gift, together with a paper sack filled with the artist\u2019s shorn locks. In a burst of expressionistic authenticity at last, Nargle returns to his barn-studio and douses his lifetime collection of landscapes by flinging cans of paint at them, turning them into abstract \u201cdrip\u201d paintings \u00e0 la Jackson Pollock. As he drifts into his pot-induced nirvana, ashes from his pipe ignite the paint and his studio is soon engulfed in flames, despite his girlfriend\u2019s sudden appearance and efforts to rescue him.

Kudos to the special effects crew of Paint<\/strong> <\/em>for their stunning depictions of Nargle\u2019s paint-drenched studio, which now resembles a chapel illuminated by multicolored stained-glass windows as flames engulf the triangular structure.

Nargle\u2019s remains are identified via the DNA in the strands of hair strewn in his studio, and news of his death is disseminated. Here, Paint<\/strong> <\/em>veers into a more metaphysical realm, for its final scenes depict a younger, \u201cresurrected\u201d Nargle who has finally abandoned his fear and timidity to paint from his soul. A morality tale with a happy ending.

Owen Wilson\u2019s talents make him a likeable and authentic antihero, and Ciara Ren\u00e9e Harper plays her role as usurper with aplomb and wisdom beyond her years.

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The supporting characters\u2014notably Lusia Strus, Michaela Watkins, and Wendi McLendon-Covery\u2014can always be counted upon to provide plenty of comic relief. Paint<\/strong> <\/em>is not a spectacular production by any means. But it is a pleasing one\u2014one that has its own charms as a study of creativity cramped by provincialism. Sap is the beginning of sapience, if you\u2019re patient enough to endure the wintry interludes in this thought-provoking fable of springtime reborn.<\/p>\r\n

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Grade B-<\/p>\r\n

Check out more of Edward’s articles<\/a>.<\/p>\r\n

Here’s the Trailer of the film<\/strong>.\u00a0<\/p>\r\n