Music and memory intertwine in writer-director Tony Gilroy’s new film “Behemoth!,” which screened at the Austin Film Festival Sunday. Gilroy, the architect behind the recent highly acclaimed series “Andor,” has become adept at constructing large-scale worlds and overarching narratives, but “Behemoth!” is an unexpectedly introspective and focused character study.
Pedro Pascal stars as Alex Serian, a renowned cellist who comes from a long line of successful musicians. After returning to his hometown of Los Angeles, Serian takes a gig at a session recording, and while playing, he finds himself having memories of his past. The most impressive component of “Behemoth!” is easily its original score, which brought together nine different film composers, including Alan Silvestri, Michael Giacchino and James Newton Howard. Gilroy masterfully creates music within the show’s universe to transport the audience to specific moments in Serian’s life.
Pascal, who is in the midst of a late-career resurgence as a leading man, brings a subdued and intentionally reserved presence to his portrayal of Serian. The character is a distant, avoidant man who seeks out relationships until the idea of commitment scares him. He simultaneously buries the weight of his own familial traumas, particularly with his father. After undergoing heavy musical training for the role, Pascal does a respectable job of convincingly playing his instrument amidst other trained professionals.
As Serian continues to play in the session, the film dives deeper into both past and present relationships, specifically with Olivia Wilde as a hilariously over-the-top crazy ex and Will Arnett as a sarcastic, underachieving brother. While the supporting cast give great performances, they do at times clash with the film’s tone.Wilde in particular seems like she was plucked out of an entirely different movie at points.
“Behemoth!” sometimes seems to be a display for Gilroy to flex his layered storytelling muscles, with the film jumping between time periods more than a Christopher Nolan movie. However, the world that Gilroy creates in the film is mostly made up of wealthy, talented artists whose problems and relationships exist within the same realm, which can be unfamiliar for most of the audience. While Serian certainly has his fair share of personal struggles, one can’t help but wonder if some of the issues he faces are noteworthy.
Despite its narrative shortcomings, “Behemoth!” comes together in a strong final act, where the effects of one of Serian’s past relationships lead to a narrative reveal in the present that forces him to make amends and take charge of his own life. The film also brings a meaningful insight into the modern-day struggles many artists face, as Serian and his colleagues find their profession as creatives being corrupted by the business aspects of the industry.
“Behemoth!” ends up being less about the craft of making music and more about how music can serve as a bridge in a way that maybe no other form of communication can. While the structure of the story and integration of the score into Serian’s memories can at times be more impressive than the actual story, Gilroy lands the ship in telling the story of an ensemble player who must take the baton and compose his own direction in life instead of simply waiting to play whatever comes before him.
3 ½ Cellos out of 5
