Director Alexander Payne is known for many trends in his films — a complete blend of comedy and drama, a strong grip on human intricacies. But he’s also a native son of the Midwest, with his first three films set in his hometown of Omaha, Neb.
“Nebraska” is a homecoming for Payne in more ways than one. It’s a successful attempt at a more raw and less refined film than his previous work, with the polish of “Sideways” or “The Descendants” nowhere in sight. It aims to evoke the scrappy, character-driven dramas of ’70s New Hollywood, which is present in the film’s gentle pace, its loose structure, its willingness to wander and its focus on character instead of events.
The first glimpse of the elderly Woody Grant (Bruce Dern) shows him shuffling down the breakdown lane of a Montana highway. He’s received a promotional letter offering a million dollar prize, and the scatterbrained old man is convinced he’s won. His wife Kate (June Squibb) and sons, David and Ross, (Will Forte and Bob Odenkirk) drive him back home, exasperated by his stubbornness and single-mindedness. He starts off again to Lincoln to claim his prize money, this time without a license or luggage. A frustrated David finally decides to drive his father, even though he knows there’s nothing for Woody on the other end.
Dern was one of the great character actors of the ’70s, appearing in films like “Drive, He Said,” “The King of Marvin Gardens” and “Coming Home.” Dern hasn’t anchored a film for a while, but his performance in “Nebraska” proves he deserved the Best Actor award he won at Cannes International Film Festival. Woody is a bundle of contradictions — ornery, friendly, matter-of-fact, fanciful, smart, confused, distant and earnest — sometimes all at once. But Dern impressively balances these traits, showcasing the weight of his life with startling skill.
The big surprise, though, is Forte. The “Saturday Night Live” comedian holds his own alongside Dern. He has a sad, underplayed vulnerability and a quietly touching empathy.
Present throughout “Nebraska” is a superb sense of place, with the flat landscapes and gathering places populated by unique faces and local color. Payne and cinematographer Phedon Papamichael’s decision to shoot the film in black and white has garnered plenty of discussion, but it becomes more than just a statement. It adds a layer of sadness to the film, which makes Payne’s characters all the more moving. It is fitting that the film is in monochrome, because like Payne, “Nebraska” is devoted to peoples’ unique shades of gray.
A version of this article appeared in the Wednesday, Nov. 13 print edition. J.R. Hammerer is a staff writer. Email him at [email protected].