Paul Mescal, Andrew Scott
“ALL OF US STRANGERS” My rating: B+ (Hulu)
105 minutes | MPAA rating: R
It’s just about impossible to describe Andrew Haigh’s deeply moving “All of Us Strangers” without either giving away the film’s big reveal or making it sound like a half-baked dive into armchair psychology.
Yet “…Strangers” got under my skin unlike any other film of 2023. It’s a downer…but we walk away from its all-consuming sadness with filled with hope for our capacity for love.
Andrew Scott, the “hot priest” of “Fleabag,” stars as Adam, a lonely writer living in a London high-rise so recently opened that there’s hardly anyone else in the building.
One fellow resident who does catch his eye is Harry (Paul Mescal); they spot each other during a fire drill and Harry almost immediately shows up at Adam’s door with a bottle and a too-eager desire to be let in.
Nothing immediately comes of Harry’s advances (both men are gay), but over the course of the next week the two strike up a relationship that moves quickly from the physical to the romantic.
Meanwhile the screenplay by Haigh (adapting Taichi Yamada’s novel Strangers) tosses a head scratcher into the mix.
One day Adam boards a train and gets off in a suburb where he is reunited with his parents (Jamie Bell and Claire Foy)…an impossibility since (a) Mom and Dad appear to be the same age as their son and (b) we have already learned from Adam’s conversations with Harry that his parents died in a car crash when he was a young teen.
Jamie Bell, Andrew Scott, Claire Foy
What’s happening? Well, apparently Adam has constructed a fantasy world in which he can receive the parental love denied him in reality. In this world he can touch and be touched. He can reveal to his parents his homosexuality (Dad is cool with it; Mom is a bit slower to get on board). He can take comfort in the warmth of his boyhood home.
Obviously Mom and Dad don’t exist anywhere but in Adam’s head. Yet so spectacularly convincing is Scott, so quietly desperate is his need for affection, that we end up buying into his delusion. And as delusions go, this one is pretty damn seductive.
At the same time the Adam/Harry relationship is deepening…at one point Adam takes his new boyfriend out to meet the folks, only to be confronted with an unoccupied house. Harry quite naturally gets a little creeped out.
“All of Us Strangers” is forever whiplashing us between the real and the imagined. It probably shouldn’t work, but the players are so astoundingly convincing that we find ourselves believing despite the craziness.
And is it really craziness? “Strangers…” isn’t into psychoanalyzing Adam; that sort of real-world attitude is at odds with the film’s near-poetic approach.
The moral here: We humans need love. Even if we have to invent it. There’s madness there, but a kind of nobility, too.
| Robert W. Butler