There are several factors filmmakers take into consideration when creating a movie with an adapted screenplay, some of which being faithfulness to page, accurate casting, and more. These kinds of movies can be a tricky thing for filmmakers to navigate, and sometimes it’s a select few factors that make the difference between a really great and a really bad film. Unfortunately, The Goldfinch falls into the category of the latter. Based on the Pulitzer Prize-winning novel of the same name written by Donna Tarrt, The Goldfinch is a wannabe film that leads you on a confusing journey with ultimately no payoff.
I have to admit that while I’ve certainly seen my fair share of poor book to screen adaptations (Percy Jackson, Miss Peregrine’s Home for Peculiar Children, A Series of Unfortunate Events, etc…), I haven’t actually read The Goldfinch, and the quality of this movie does not necessarily speak for the quality of the book. Regardless, I don’t think reading it would’ve made this movie any better for me. Directed by John Crowley, known for Brooklyn (2015) and Intermission (2003), The Goldfinch follows Theo Decker, played by Oakes Fegley and Ansel Elgort, in the aftermath caused by his mother’s death in a museum bombing. Theo steals a famous and valuable painting, “The Goldfinch,” from the rubble and carries it with him as his life grows increasingly unstable.
The Goldfinch bounces back and forth between Theo’s traumatic childhood and current day. This might have been a good narrative strategy if it weren’t for the fact that the only thing really connecting the two timelines is the painting Theo stole, the reason for which we are not told until maybe halfway through. While some of the secondary characters also make appearances in both timelines, for a large majority of the film, it seems like they could’ve been completely different people and it would’ve made little difference. Initially, it feels like there is a complex mystery being drawn out for us, but after it drags on for almost two hours with no real change, it only becomes confusing and boring. Even when we finally reach the dramatic conclusion, the lack of substance and development prior to it proves for a low stakes investment by the audience into how the story might end. There’s just no real sense of direction or reason for much of what we see on screen.
Additionally, the lack of explanation for several of the events that happen proves for a very frustrating watch. Until the final half hour, it appears that Theo just happens to land himself in a lot of situations or relationships that don’t appear to be related to each other or the painting he stole. I imagine that in the book, the painting probably offers some sort of symbolism or tokenship for Theo. Here, it’s something we see him caress a few times obsessively and then put away. There’s a feeble attempt to show what the painting represents for Theo in the film’s conclusion, but by that point in time, no explanation can make up for the over two hours of confusing and muddled information you’ve just sat through. Any other connections made are too weak to sustain the story.
Despite the poor narrative execution, the cast does its best with what they have. Oakes Fegley gives a wonderful performance as young Theo, coupled with Ansel Elgort’s performance as his older self. Jeffrey Wright and Nicole Kidman also star as two of Theo’s pseudo parents, and while both offer a more reserved persona to the screen, it does fit with the melodramatic atmosphere and production values, which are admittedly done well most of the time. Additionally, Finn Wolfhard and Aneurin Barnard play the young and adult version of Boris, Theo’s Ukranian classmate. His character arguably stands out the most among the crowd, but it would be too much to call him comic relief.
In the end, The Goldfinch tries to dangle something exciting in front of our faces, but fails to deliver on the excitement it promises. It’s just trying so hard to be that Oscar worthy drama of the year, but it’s truly just a couple of melodramatic scenes that are being held together by less than a thread. If there’s a lesson to be learned here in filmmaking about too much or too little faithfulness to a book, The Goldfinch has certainly failed it.
2/5 STARS