FLORA AND SON – Review

Does something magical happen when you create music? Many folks believe that. Perhaps a main proponent of that notion is Irish filmmaker John Carney. He’s illustrated that belief in a trilogy of beloved films: ONCE, BEGIN AGAIN, and SING STREET. And now he’s stretched that trilogy into a “quadrilogy” (perhaps calling them a quartet is more in line with the music themes) with his new film opening this weekend. But this tune-filled dramedy has a “hook” that is almost universal. Here the songs are in service of mending a family. It can’t completely repair this particular family, but it may just bring this single mother and her teenage son a tad closer, so at least they’re not spending their evenings screaming at one another. Adding to the tension is their “hand-to-mouth” existence, being part of the hard-working lower middle class of Ireland. That’s the setting for the story of this dup, hence the title FLORA AND SON.

When we first meet Flora (Eve Hewson), she’s charging into the local pub-turned-disco, at “full speed”, hand in hand with her best “gal pal”. Soon they’re splitting up on the dance floor in search of “after-hours companionship”. And when her “overnight guest” at her shabby apartment hears mention of her son, he practically bursts out the front door ala’ the Kool-Aid Man. Soon we meet that fourteen-year-old son Max (Oren Kinlan) when a local constable comes over to deliver a stern warning about his petty thievery. One more “pinch” and he’s in the “system”. When the “bobby” leaves, the two begin their regular “screamfest”. Flora is not getting any help from Max’s dad, Ian (Jack Reynor), a former rock bassist who’s now sharing a nicer pad with his wealthy new girlfriend, though Ian gets Max on most weekends. Hmm, Max has inherited his pop’s musical interests, though Max is more into rap and techno-pop. When Flora sees a beaten-up guitar sticking out of a dumpster, she grabs it, has it repaired, and gifts it to Max as a belated birthday present. And…he wants no part of it (cue another nasty “row”). But it grabs the interest of Flora, especially after seeing a singing competition sign outside a nearby bar. Now she’s got to learn to play it. After viewing countless video pitches for online lessons, she settles on a hunky, “mellow dude” from the States, Jeff (Joseph Gordon-Levitt). After an awkward first session, the two begin to connect through the “web”. Could this become more than a “teacher/student” rapport, even though he’s thousands of miles away? And what of Max? Could music mend the estranged mother/son bond? More importantly, could this shared passion keep Max on the “straight and narrow” and out of the detention facility?

She’s the first name in the title and really the first person on screen, so I’ll start off singing (not as nicely as the leads do) the praises of Ms. Hewson as the delightfully shocking, sometimes abrasive, and always unpredictable Flora. She provides the pulsing beat to this story as we watch her fighting the courts, her friends, her ex, and her own inner insecurities. Hewson perfectly captures Flora’s “take no prisoners’ stance, but she also shows us how this “tough mama” tries to onceal her worries and concerns, especially for “and son”. I’ll get to him in a moment since Hewson’s strongest scene partner may be that “laid-back” charmer, Mr. Gordon-Levitt. Denied physical interaction, JGL’s Jeff communicates with his crooning and through his questioning eyes. Jeff’s struggling to keep a “professional distance”, though we seem him letting his guard down as this Irish “wild card” draws him in, and, somehow, becomes his teacher. And now to Max, who starts off an a smarmy punk, but Kinlan gives him a sad vulnerability. whether yearning to fit in with the “lads” or impress the local “video vixen”.Max has an emdearing awkwardness which offsets his boasting rap lyrics (which are truly hysterical). And proving that the “apple doesn’t fall far from the tree”, his equally talented pop Ian also scores lots of laughs thanks to the warm, comedic turn by Reynor (so good in Carney’s SING STREET). We’re set up to dislike him as a “deadbeat dad”, but we soon see that Ian is trying to “step up”, and is eventually drawn back into his boy’s life via music (Reynor’s face as he hears Max’s song mix is priceless).

Oh, I forgot to mention that this smart script is also from director Carney. He deftly balances the scenes showing the joy of musical creation with some hilarious exchanges. and plenty of heart-breaking drama. At the story’s onset, it appears that Max will not find his way and will soon be crushed by society. We can see how Flora becomes his lifeline by never giving up or giving in. Plus we get to witness her renewed joy and happiness. Though she’s inspired by that contest money, the music becomes the oxygen invigorating her. Carney makes that part of the tale come alive using a clever visual trick to break through the laptop screen to forge an intimate connection between Flora and Jeff. And though everything’s not neatly wrapped up by the sweet finale, we’re left with hope for all the principals. Sure, it’s another charming ode to melody from Mr. Carney, but it’s also a wondrous story of a fractured family who can learn a new way to harmonize. To put it simply, FLORA AND SON truly hits all the right notes.

3.5 Out of 4

FLORA AND SON is now playing at select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas. It also streams exclusively on AppleTV+ beginning on Friday, September 29, 2023