There aren’t a lot of working actors who have accomplished as much as Paul Dano. Dano has had a remarkably fruitful career, and he’s not even 40 years old yet. Few can say that they’ve stood toe-to-toe with the great Daniel Day-Lewis and still managed to hold their own, but that’s just one of the many accomplishments on Dano’s resume. He’s a remarkably transformative actor; whether he’s a depressed teenager in Little Miss Sunshine, an insane assassin in Looper, a suicidal philosopher in Swiss Army Man, or the great Beach Boys vocalist Brian Wilson in Love & Mercy, Dano can change his persona for whatever a project asks for.
Dano’s latest dramatic transformation was his acclaimed role as the beloved comic book villain The Riddler in Matt Reeves’ reboot The Batman. The news that Dano was joining the project came as a bit of a surprise to his longtime fans; while Dano certainly has been in some high profile projects, he’s never ventured into blockbuster territory. After viewers got a chance to check out his actual performance, there was little suggestion that he’d “sold out” in any way. Dano’s Riddler is a terrifying serial killer that fits perfectly within the ‘70s neo-noir that Reeves had in mind. The Batman franchise has certainly crafted some memorable cinematic villains, but Dano instantly announced himself as a worthy contender.
Hopefully his participation in a widely successful blockbuster like The Batman will continue to allow Dano to pursue smaller, more personal projects. He’s not only one of the most exciting young actors of his generation, but a promising filmmaker in his own right. Dano stepped behind the camera in 2018 for the film Wildlife. Based on the acclaimed novel of the same name by Robert Ford, Wildlife explores a couple’s divorce through the eyes of their young son during the economic uncertainty of the 1960s. It’s a remarkably intimate, understated first feature from a filmmaker unafraid of working in the classical fashion.
Wildlife centers on the sensitive teenager Joe Brinson (Ed Oxenbould), an aspiring young photographer who lives with his parents Jerry (Jake Gyllenhaal) and Jeanette (Carey Mulligan) in Great Falls, Montana. It’s a small, friendly community that is unfortunately met with economic hardship and a scarcity of jobs. Joe gives up after school football in order to work part-time to support his parents, but the modest young boy doesn’t complain. He’s more concerned about his father; Jerry was fired from his job at a country club golf course, and refuses to apply for the same position when his former employer approaches him again.
Jerry’s refusal is clearly a decision that’s made out of pride, but the film doesn’t immediately transform him into an irresponsible character. Wildlife is shown through Joe’s eyes; he still idealizes his father, and the minimal scenes between Oxenbould and Gyllenhaal emphasize the moments that would stick out in a young boy’s mind. Joe remembers the playful games of catch and the warm holidays. The specificity of what Dano shows is remarkable, but it's just as important to see what details he doesn't show.
As the Brisons’ situation grows more dire, Jerry accepts a position as a firefighter aiding the local efforts to combat forest fires in the mountain. He has to leave the family on extended trips, leaving Jeanette to provide for the family by herself and take up a position as a swimming instructor. If Joe idolizes his father as a noble working man, he considers his mother’s diligence to be just as honorable. He shows an astonished respect for her resilience and even-tempered spirit throughout the unfortunate scenario. The cracks in Jeanette’s facade only steadily become identifiable to both Joe and the viewers.
Gyllenhaal’s brief appearances seemingly mask the irresponsibility of his character, as Joe cherishes each lesson his father gives him. Compared to Gyllenhaal, Mulligan is forced to stay silent at the center of the frame as the tension between the couple escalates. Joe only gradually begins to pick up on his mother’s apprehensions; Dano again only prioritizes passing remarks, such as a comment Jeanette makes about wanting to become a schoolteacher, but being unable to work full-time because of Jerry. This nuanced direction allows Dano to steadily unravel the cracks in the marriage as they become apparent to a young boy who still reveres his parents.
There’s a tendency among first time directors, particularly former actors, to sensationalize the performances, yet ignore some technical details. Dano didn’t face these challenges at all. He co-wrote the screenplay with his wife Zoe Kazan, and between the beautiful translations of Fords’ words, they incorporate stunning vistas. The gorgeous cinematography from Diego Garcia captures the inherent natural beauty of the Montana mountain ranges and fields in picturesque detail. Dano avoids any obvious foreshadowing, but the omnipresence of a potential forest fire haunts the story. There’s a constant tension that things could be disrupted at any moment, just as they could in Joe’s house.
Joe’s modest pursuit of photography allows Dano to highlight his idealism. Joe observes any of his parents' more fiery encounters from behind a half-closed door or through a back end source, seemingly shaming him for showing concern. When Joe takes photos, everything is in line as it should be, and presented as matter-as-fact. It underscores that Joe is still too young to recognize moral grayness, even though he is hard-working. Dano avoids making Joe seem too ignorant, and his innocence feels more tragic as a result. In the film’s gorgeous (but heartbreaking) final moments, Joe asks his divorced parents to pose for a family photo. At this moment Dano creates the perfect, happy family that Joe still believes in.
Wildlife is the type of film that may have been considered a classic if it had been released in the 1970s and starred Dustin Hoffman and Meryl Streep. There’s an understated beauty to what Dano accomplishes that’s rarely seen in modern cinema, and it's particularly impressive coming from a debut filmmaker. It’s a sign that Dano has an exciting directorial career in front of him. If The Batman pays the bills, hopefully Dano can step behind the camera again soon.