Discover the magic of movies in Steven Spielberg’s shiny semi-autobiographical cinematic memoir
How does a middle-class Jewish boy in 1950s America discover a passion for filmmaking? The Greatest Show on Earth, of course. After a revelatory experience watching the award-winning Cecil B DeMille drama at the cinema with his parents, Sammy (played wonderfully as a teenager by Gabrielle LaBelle) pursues his newfound interest, encouraged by his mother Mitzi (Michelle Williams), a concert pianist and free spirit. Sammy's father Burt (Paul Dano), a pioneering computer engineer, marvels at his son's cinematic innovations, but cannot see his passion as anything more than a passing hobby. As the Fabelmans move from the East Coast to the West, Sammy becomes their de facto documentarist, until his camera inadvertently reveals a secret that will tear the family apart.
Filmmakers making films about filmmaking has a long and decidedly mixed history. Done well, like with Cinema Paradiso, it can elevate and inspire, reminding us of the magic of cinema. Done badly, it can be tedious and self-indulgent. The Fabelmans walks this tightrope successfully, occasionally wobbling, but never losing its balance. It’s heart-warming, sad, funny, sentimental, truthful, inspiring – and deeply, unapologetically Jewish. Plus, it’s a Spielberg film, so of course it looks fantastic. Every shot is imbued with a glow that feels pure Golden Age Hollywood.
The art and craft of filmmaking is placed centre stage as Sammy hones his skills, making his own home-movie versions of classic Westerns and World War II epics. Showcasing his work to family and friends, the camera often lingers on their delighted reactions, rather than on the films themselves. The Fabelmans also explores the ability of film to fabricate narratives and manipulate the truth, as Sammy learns to edit footage to his advantage.
A stand-out scene comes when the family is visited by Sammy’s Great Uncle Boris – a show-stealing performance from Judd Hirsch. He and Sammy recognise each other as kindred creative spirits – their love of art will always come first, even before their love for their families. But Boris is unflinching in spelling out the cost of that choice, presciently warning Sammy: “Art will give you crowns in heaven and laurels on Earth, but also, it will tear your heart out and leave you lonely.”
The Fabelmans is not a perfect film. It’s too long, with a baggy final third, and its attempt to shoehorn neat resolutions to familial conflict ends up feeling forced. John Williams’ score is a little heavy-handed and occasionally intrusive. But if you want to walk out of the cinema feeling uplifted, reminded of just how special watching films can be, and inspired by the magic of storytelling, then go and see it. This is Spielberg at the top of his game and, let’s face it, in these often-bleak times, who doesn't want that?
By Barney Pell Scholes
The Fabelmans is out in UK cinemas on Friday 27 January. Visit thefabelmans.co.uk to find your nearest screening.
Barney Pell Scholes is a writer and filmmaker. barneypellscholes.com