Steven Spielberg’s latest film, The Fabelmans, is an engaging and deeply personal, if occasionally uneven, work. The semi-autobiographical film follows Sammy Fabelman (Mateo Zoryan, Francis-DeFord and Gabriel LaBelle) as he discovers his love of filmmaking and navigates a chaotic family life with his parents, Mitzi (Michelle Williams) and Burt (Paul Dano), and their family friend Bennie (Seth Rogen). In a message shown before the film, Spielberg described it as a love letter both to his family and to cinema; while the film can occasionally feel torn between these two elements. The Fabelmans ultimately provides a compelling portrait of the Fabelman family.
The most immediately intriguing element of the film is young Sammy’s filmmaking efforts, which directly parallel Spielberg’s own. It is thrilling to witness the clear passion and talent that manifests in Sammy’s childhood film projects. However, these elements of the film are generally devoid of tension, despite attempts to introduce conflict through Burt’s dismissal of Sammy’s filmmaking. Given the young Fabelman’s obvious talent, his father’s continued support despite his reservations, and the audience’s knowledge of Spielberg’s own phenomenal success, the stakes here feel deflated compared to the film’s family drama.
Sammy’s filmmaking is also the focus of heavy-handed psychoanalysis from other characters. The most glaring of these comes from Mitzi’s uncle Boris (Judd Hirsch), who warns Sammy that tension between art and family will tear him apart, just as it has done to Boris and Mitzi. Such dialogue feels redundant given that Spielberg already demonstrates the effects of this tension on his mother.
Francis-deFord and LaBelle are each excellent in their portrayals of Sammy at different ages; however, given Sammy’s young age, the film is not able to truly explore the moral complexity that may arise as a result of his dedication to filmmaking, instead only hinting at it by having characters make these overt remarks. This feels like Spielberg attempting to grapple with his own shortcomings, but being either unwilling or unable to do so within the scope of the story that he has constructed.
Moral complexity is more present in Mitzi, a pianist who finds herself dissatisfied with her life despite her evident love for her family. Mitzi is a truly flawed and complicated character, brought to life in a mesmerizing and richly-layered performance from Michelle Williams.
Despite his more low-key presence, Dano is also solid as Burt, and his final scene with Sammy is a particular standout.
The true heart of the film, though, is Sammy and Mitzi’s relationship. Sammy’s realization of his mother’s flaws and their subsequent confrontation are particularly compelling and engaging.
Ultimately, The Fabelmans feels divided in its focus between Sammy and Mitzi but the scenes between the two – as well as the thrills of seeing Sammy’s near-prodigal cinematic efforts – allow the film to soar. These elements, alongside the film’s rich cinematography and excellent performances, allow its flaws to slip away, engrossing the viewer in the complicated story of a family, through love and chaos.
Image “Steven Spielberg” by Gage Skidmore is licensed under CC BY-SA 2.0.