Nebraska Review

Nebraska, the sixth feature film directed by Alexander Payne, is about an old man named Woody Grant who convinces his son David to take him to Lincoln, Nebraska in order to claim a sweepstakes prize of 1 million dollars.  Woody is often confused about himself and his surroundings, due either to his age or his alcoholism, yet seems fixated on this more than questionable promise of prize money.  David, having nothing important going on in his life, decides to humor his dad and help him even if he thinks the prize is a total fantasy.  The two set off from Billings, Montana and encounter many people from Woody’s past along the way.

                For the most part the film and the story are as straight forward as the premise, with one caveat.  On the surface this appears to be a film about aging.  To be sure, the members of the cast that sport grey hair outnumber those that don’t, and the movie isn’t afraid to have a laugh at the expense of the elderly.  But this story is more about a son becoming closer to his father.  As the audience might expect there’s more to Woody than the disheveled, ornery man we meet at the beginning of the film.  Through one event after another Woody’s past comes to light and his son begins to understand his father more than he has his entire life.  This humanizing comedy, much like its main character, is at first rough and forlorn, but soon gives way to a peculiar tenderness.     

             Bruce Dern, who plays Woody, fleshes out his character with minute idiosyncrasies including a strained walk and trembling hands that are fascinating to watch.  Dern carries the film, but June Squibb, playing the role of his wife Kate, practically steals the show with her bold, biting humor.  The son, played by Will Forte, has an “Aw shucks,” feeling about him and serves as an anchor to the story.  The supporting cast is rounded out by the likes of Bob Odenkirk and Stacy Keach, each of whom is engaging in their own way. 

            As the title implies, the setting plays a strong role in the aesthetic of the film.  Endless highways pass through arid deserts and plains as Woody and David make their way to their destination.  The film feels intimate with its characters and the small town where the majority of the story takes place.  Yet the landscapes are vast and large.  Cows appear small as they graze in giant fields dotted with bales of hay, and the whole film hums with a rustic tone.  The black and white photography emphasizes shadows and the pale lights of the town beautifully.  The soundtrack is populated by acoustic guitars and a muted trumpet that seems to sigh along with Woody during his most desolate moments.  The sound, along with the rest of the film, feels like a kind of 21^st century Americana. 

           Nebraska is a window into an odd, faded world that holds many beautiful things.  The cinematography and frank performances make it a world worth traveling to.  Perhaps the story is a little too straightforward and would have benefited from a clearer arc for its central characters, but what’s here is an enjoyable playground for Payne’s measured sense of sadness, comedy, and sentimentalism.