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class="ContentHearHedAccredatnWrapper-GFiQf cDNVlV"><div data-ttid="ContentHearTleBlockWrapper" class="ContentHearTleBlockWrapper-cjmSKp jbzVNV"><div data-ttid="ContentHearRubric" class="ContentHearRubricBlock-LmpbT kkDiIx"><div data-ttid="ContentHearRubricDateBlock" class="ContentHearRubricDateBlock-kAQcZP fTFWxD"><div class="RubricWrapper-dKmCNX dZhWBL bric ContentHearRubricContaer-eTudtt iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/magaze/the-current-cema"><span class="RubricName-fVtemz cLxcNi">The Current Cema</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">Anthony Hopks Rul the Screen “The Father”</h1></div><div class="ContentHearAccredatn-lfctVB etVsnJ ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ Mtme">Florian Zeller’s adaptatn of his play about old age shows Hopks at the ighteng summ of his powers.</div><div class="ContentHearByle-kmPyCa gvUmxJ"><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bHLeKI"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/anthony-lane">Anthony Lane</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2021-02-26T06:00:00-05:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA iINaCX">Febary 26, 2021</time></div></div></div></div><div class="ContentHearLeadAsset-hGbumP fEknXh lead-asset ContentHearLeadAssetWrapper-hfXHEc Grck lead-asset--width-fullbleed" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb hONbnm"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz hgVQKG"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearRponsiveAsset-bREgIb hONbnm rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="The Father" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></div></figure></div><div class="ContentHearLeadContentFullWidth-cvJzX hHaBOT"><figure class="ContentHearLeadContentCaptnCred-hSIIqJ kQVfzg"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Anthony Hopks stars Florian Zeller’s adaptatn of his own play.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by Keh Negley</span></div></figure></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" 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22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">The hero of “The Father” is an old man named Anthony. He is played by <a href=">Anthony Hopks</a>, and the two of them, fictnal and real, share a date of birth—the fal day of 1937. When we first meet Anthony, he is wearg headphon and listeng to mic: a high and stammerg plea, sung by a untertenor. It om Purcell’s “Kg Arthur,” and the lyrics, by John Dryn, tell a chillg tale: “What power art thou, who om below / Hast ma me rise, unwillgly, and slow, / From beds of everlastg snow?” There is no better gui to the plight of Anthony, upon whom the season of mentia has scend. He is all iced up.</p><p class="paywall">The film is directed by Florian Zeller. It om his play of the same name, which he has adapted for the screen, nsort wh Christopher Hampton. Most of the actn unfolds a London apartment, which retas the air of a stage set; a fe light slants om one si, as though we were trapped a perpetual late afternoon. Ocsnally, the characters venture to the external world, but feels like a foreign untry. Anthony star out of the wdow and spi a kid, the street, tossg and kickg a plastic bag. Such is the lenient envy wh which age regards the idlens of youth.</p><p class="paywall">Anthony had a regiver, who has recently qu, claimg that he maltreated her. His dghter, Anne (Olivia Colman), who to see him, is galled by the suatn, but Anthony is mulish and unmoved. “I don’t need anyone,” he says. It’s not long, however, before this proud self-reliance giv way to a wheedlg cry. When Anne announc that she may be movg to Paris, he repli, “You’re abandong me. What’s gog to bee of me?” Shyly, he rts his hand agast the si of his face—a Hopks tramark, visible “<a href=">The Remas of the Day</a>” (1993), and suggtg a need to shield himself om the sctizg glare of other people.</p><p class="paywall">At this stage, we are braced for a harsh and realistic portra of a failg md, and of the loved on who get hurt along the way. To an extent, “The Father” fulfills that brief. But somethg else emerg here: a mystery, all the more disncertg for beg so matter-of-fact. Anthony walks to an adjog room, fds a man stg there, and quir, “Who are you?” The man explas that he is Pl (Mark Gatiss), Anne’s partner, and that he, too, liv the apartment. When we next see Pl, however, he is played by Ruf Sewell stead of Gatiss, and is far more abrasive than the earlier rnatn. As for Anne, she is played not only by Colman but also by Olivia Williams—who, like Gatiss, will later show up another role. What’s gog on?</p><p class="paywall">Zeller is not the first director to jumble his dramatis personae, and to mata a ol posure the procs. When <a href=">Luis Buñuel</a> was at an impasse the creatn of “That Obscure Object of Dire” (1977), he h upon the ia—“after two dry Martis,” as he said—of havg a pair of alternatg actrs play the heroe. The lectable joke was that, to the roué of riper years who yearned for her (and who appeared not to notice her metamorphos), she th beme twice as unattaable, and doubled her mockery of his lt. The trick is repeated “The Father,” but for sadr reasons; Anthony is driven by nfn rather than passn, and, if the folks around him keep swappg plac, that is bee his pacy for human regnn has shnk. In short, we view the world through his bewilred ey. What looks like his apartment is, fact, the si of his head.</p><p class="paywall">A while ago, I saw “The Father” onstage, wh a different st. By the followg morng, I had fotten all about . Why, then, should the film make so potent an imprsn? Partly bee of the eper spatial perspectiv that moviegog affords, and the furtivens that they enurage; unlike a theatre dience, we n gaze down the long hallway Anthony’s apartment, as he slips through a door at the end of and peers at darkly through the crack. Let’s be hont: the masprg of “The Father,” onscreen, is the prence of Hopks—an actor at the ighteng summ of his powers, portrayg a man brought pifully low. The irony is too rare to rist.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">One thg that distguish actors of the loftit rank is the fascatn that they breed as they rry out que ordary eds. A famo example is that of Jam Stewart, “Mr. Smh Go to Washgton” (1939), toyg wh the brim of his hat to dite social awkwardns, and the sight of Hopks, “The Father,” potterg about the kchen, fillg the kettle and unpackg groceri, sts a parable spell. We uld be watchg a prit preparg for Mass. This air of liberatn grows more tent wh the troductn of Lra (Imogen Poots), a iendly young woman who is bravely applyg to be Anthony’s next regiver. Greetg her, wh a silk handkerchief rakishly tucked to the breast pocket of his robe, he is charm personified—flirtg wh her, flashg his gr, and timatg that he ed to be a dancer by profsn. (Not te. He was an engeer.) He pac round and round the livg room, tracked by the mera, and then unsheath his rage:</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>“All I want is for everyone to <em>fuck off</em>. Havg said that, ’s been a great pleasure. <em>Au revoir</em>. Toodle-oo.”</p></div></blockquote><p class="paywall">It’s an astonishg sequence, toughened by s mixture of the urtly and the profane, and by the force wh which Hopks hammers out his l, strikg the nsonants until they spark. (Elsewhere, he even stretch the word “Anne” to a disyllable.) We cut away to Anne, who hears his tira tears. Why is that this cramped fay saga should have a reach and a clutch that were nied to other studi of mentia, like “<a href=">Away om Her</a>” (2006) and “<a href=">Still Alice</a>” (2015)? It is, I would argue, bee of the ghost of “Kg Lear.”</p><p class="paywall">Hopks played Lear at the Natnal Theatre, 1986, and, 2018, he returned to the part for a televisn productn, directed by Richard Eyre. That performance was oddly muffled s impact; the rage of the Kg felt pretermed, as though he were armed for nflict advance, whereas Anthony’s ire, the new film, bursts out of nowhere, like thunr. To be sent to a nursg home—his unrlyg terror—would be like beg evicted, foul weather, onto a blasted heath. “I’m losg all my thgs, everyone’s jt helpg themselv. If this go on much longer I’ll be stark naked,” he says, wh half a lgh, clgg madly to his apartment much as Lear do to his retue of knights. (Anne, exasperated and fond, is a Corlia who gets raved at like a Goneril.) Dpe the strong ensemble of supportg players, “The Father” is a work of dreadful lonels. Hopks l the screen, swayg between granur and ficky fs, and Anthony’s cle we see a portent. “Who, exactly, am I?” he asks. And how many liv, like his, mt end a one-man show?</p><p class="has-dropp has-dropp__lead-standard-headg paywall">For an alternative approach to the treatment of the elrly, lay asi “The Father” and try “I Care a Lot,” which is fast, hard, bright, and about as gentle as a mouthful of sour ndy. The movie stars <a href=">Rosamund Pike</a> as Marla Grayson, who is a guardian by tra. This means that she tak over the affairs, personal and fancial, of senr cizens who are no longer pable of handlg their own liv. It sounds like a noble llg, and the thori tend to tst her. What they don’t know is that a lol doctor suppli her wh easy prey—“real high-matenance asshol,” we learn, who n be mted to a re facily, unr a urt orr, while Marla strips their assets bare. As she says to her latt victim, Jennifer Peterson (<a href=">Dianne Wit</a>), “You’re jt another old lady, a re home, wh mentia, wh ntence, wh arthris, and wh no one. Except me.”</p><p class="paywall">Wrten and directed by J. Blakon, the film is love wh s heartls heroe, loath to let her out of the mera’s sight. We are ved to bask her pravy, and to si wh her when thgs go wrong—when Jennifer, far om beg meek and fensels, turns out to have (a) unregistered diamonds a safe-pos box and (b) unsavory crimal nnectns, the shape of Roman Lunyov (<a href=">Peter Dklage</a>). Marla squar off agast Roman, whose unfathomable evil is signalled by the menacg fashn which he eats an éclair.</p><p class="paywall">The trouble wh “I Care a Lot” is not how cynil seems but how pleased is wh that cynicism, forever strag to top s own tastelsns. (No wonr ’s so unwillg to let go; the last film wh this many endgs was the fal part of “<a href=">The Lord of the Rgs</a>,” 2003.) “To make this untry you need to be brave and stupid and thls and focsed,” Marla clar, and guardianship is revealed to be jt another wrench the toolbox of palism. Wit, who giv the least lculated and the most beguilg performance, fas om the scene, and, sence, the movie do a Marla: rather than payg genue heed to the aged, them, wheels them away, and parks them a rner of the plot. The old story. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="bhq78l"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div><div class="ArticlePageSplAdRailMiddle-tiRvu hiZeZX spl-ad-rail-middle"></div><div class="ArticlePageSplAdRailBottom-dBKMGQ jmCMsn spl-ad-rail-bottom"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="8vmo"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/03/08" data-reactroot="">March 8, 2021</a>, issue, wh the headle “Fal Acts.”</footer></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/anthony-lane"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/anthony-lane">Anthony Lane</a> has been a film cric for The New Yorker sce 1993. 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fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Lyndon Johnson and the events Dallas.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Robert A. 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All the years later, why has the se bee a e?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Nathan Heller</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center 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