T H E N A I V E F I L M M A K E R

There doesn’t seem to be many as ubiquitous in the horror world as Mike Flanagan. Being the filmmaker behind incredible films like Oculus (2013), Hush (2016), and Doctor Sleep (2019). As well as universally loved horror series’ The Haunting of Hill House (2018), Midnight Mass (2021), and The Fall of the House of Usher (2023). Flanagan has dominated the genre and appears to have Stephen King on Speed Dial. His projects are chilling but more importantly, they’re incredibly human. The Haunting on Hill House for example while unbelievably chilling, is not just remembered for scares, but for its beautiful portrait of family. Likewise, Midnight Mass is not just a vampire mystery but is a critical analysis of religion.

I was always going to be the first in line for the next Flanagan Feature. But unless you were familiar with the Stephen King short story, the content was always going to be a mystery. The trailer while beautiful, left just about everything to the imagination!

The trailer implies (and seeing the film confirms) that Flanagan is largely sidestepping traditional horror for this project, while he certainly brings some of his scare flare to The Life of Chuck, this project leans far more into philosophy and existentialism, telling a story that floors viewers.

Performances To Remember:

Just about every performance on the screen is phenomenal, from the leading characters to the background artists. Even the guy losing what’s left of his mind over Pornhub, gives a phenomenal performance. It’s going to be a long time before I forget any of the standout acting in The Life of Chuck.

The film hosts large number of Flanagan regulars, who I personally think are hired from his personal group chat, as opposed to any casting agency. Mark Hamil completely disappears into the role of Chuck’s grandfather, embodying the troubled soul who despite clearly being a loving family man, carries intensive burdens. Likewise, Karen Gillian and Rahul Kohli while only occupying a small amount of screentime, fulfil the tall order of grounding the fantastical setting of the first act, Carl Lumbly fulfils the role of the philosopher, bringing a calming atmosphere to the calamity around him. Meanwhile Chiwetel Ejiofor (Flanagan Newcomer) proves the perfect straight man in the first act, carrying the role of the frustrated teacher, doing his best to fulfil his role in a world that no longer cares, he carries himself like the one person keeping it together, but exudes a sadness, loneliness and a fear that doesn’t call any attention to itself, but exists palpably. Matthew Lillard (Shaggy himself) drops the first of the Flanagan Monologues in such a powerful delivery that his tears seem genuine (as were mine).

At this point in his career Hiddleston operating at peak performance is not really news, but the way in which he embodies the role of “Accountant”, is award worthy. Nobody watching this film sees Loki or Tom, they only see Chuck, a tremendously likeable man who walks with assurance but carries the weight of a man not quite sure he’s fulfilled his potential, a weight he drops during his interactions with Annalise Basso and The Pocket Queen, who both dominate the screen in every frame they occupy.

But having given the adults enough credit, some of the real stars are the children. Jacob Tremblay and Benjamin Pajak really embody the role of young Chuck; both have some heavy hitting scenes that really convey how talented they both are!

The Picture:

Eben Bolter’s Cinematography is beautiful from start to finish, every frame really is a painting in this film, but what’s truly impressive is its range, altering to fit the tone of each act, from doomsday in act one, musical in act two and coming of age in act three. Whether conveying the emotions of its characters through close ups in conversation to reminding those same characters of their own insignificance in sweeping wide takes against the imploding stars.

The use of light and increasing darkness in the first act as the universe seemingly approaches the end, add layers that make everything feel real on an emotional level, allowing the audience to feel the same dread as the characters. Realism switches flawlessly to surrealism.

The production design speaks for itself in many ways, creating several different worlds, although for me the stand out is the victorian house in which Chuck grows up. While the locked Cupola door alone is enough to cause some intense dread.

Flanagan rarely delegates the edit of his films and it’s clear that the editing process begins at the conception of the idea itself. Shots from each act are repeated in other acts, in a way that mirrors thought, memory, and dreams. Characters cameo and all come together to build an interior universe, multitudes if you will. Again, the talent of the edit is in its diversity, the three acts are completely different and Flanagan edits three separate films and blends them seamlessly into one.

***** Spoilers Ahead *****

An Uncynical Philosophy:

Flanagan’s love of literature has always been apparent, from his flawless Stephen King Adaptations (Life of Chuck included) to his retellings of Poe, James, and Jackson.

The use of Walt Whitman’s Song of Myself provides explanation for anyone confused at the film’s first act. “I contain multitudes” sums up the theme of the film, it conveys the godly creations that all people who exist are responsible for in their short time on earth, explaining the significance of the first act, filled with characters, phrases and locations known to Chuck.  

It becomes largely apparent that Chuck is a very normal man, a seeming nobody, his biopic starts with his death, and his life story is told mostly in a few small moments. In 39 years, only a small number of days are worth telling the audience about. But the source material really loves Chuck for this, and his mundane life amounts to multitudes. The happiness he feels during an impromptu street dance during an otherwise dull day, is worth the creation of an entire universe. It’s something that makes his future suffering bearable and even worthwhile.

The use of the Cosmic Calander, popularised by The Dragons of Eden (Sagan, 1977), is a device that reinforces the insignificance of all mankind, but it’s juxtaposition with Whitman really emphasises the value of each human life. The thing that makes this film special above all else is its uncynical view on life, even a short and uninteresting life is the centre of an entire universe.

A Valuable Lesson:

The film’s ending (and beginning) concludes with Chuck vowing to embrace a life he fears will be short.“…I will live my life until my life runs out. I am wonderful, I deserve to be wonderful, and I contain multitudes.”

There is a lesson here for the casual viewer. We are all aware of our eventual demise, it sits in the back of our mind that death will come, whether sooner or later. Our only choice in life is to live it until it’s over and whether we’re dancers, accountants or something inbetween, we should be able to find some joy in it worthy of the universes we’ve created.

The Life of Chuck is in my opinion Mike Flanagan’s best film to date, it’s poetic, beautiful and tells the story of a life in a completely unique way!