My review of the beautifully moving Lean on Pete is over at Filmink and below.
Andrew Haigh’s poetic vision of growing-up poor and neglected is a haunting and deeply moving look at a side of American life rarely given such detailed attention.
The film is a slow-burn of intense emotional upheaval, and brings a studied approach to its subject that makes the impact of the experience even more rewarding.
Going for careful and deliberate dramatics, rather than overplayed fireworks, the story is reserved, contemplative and, ultimately, heart-rending.
Featuring a powerful central performance from Charlie Plummer as the 15 year old Charley, Lean on Pete is a coming-of-age story delivered in the most compassionate of tones.
Charley, a likeable innocent, is tasked with survival on a daily basis. His father Ray (Travis Fimmel) loves his son, but is not exactly reliable. He has a habit of going from job to job and shacking up with new partners – including the married Lynn (Amy Seimitz) – as and when it happens.
As we are introduced to father and son – and Haigh deliberately allows us a semi-documentary view of their hand-to-mouth lifestyle – we see the ramshackle rooms, missed meals and unhealthy living arrangements that make up their life. It’s not played specifically for sympathy – although that is there in abundance – it is more about showing the reality of young Charley’s existence.
This reality makes the discovery of a local horse track and the appearance of irascible trainer Del (Steve Buscemi) more of a bright note in Charley’s disjointed life than it otherwise might have been. The cantankerous old Del shows the boy how to work the stables and get the horses ready for racing.
It’s here that the eponymous horse Lean on Pete connects with Charley. The relationship between ageing animal and young human is showcased beautifully and simple scenes of the two walking back and forth with the boy intoning softly about whatever’s on his mind is quietly emotive.
Chloë Sevigny also has a role as a jockey who candidly warns Charley about getting too close to Pete. Both she and Del see the horses as little more than tools to make use of. When they become too old and too slow, they are cast aside and replaced. For them there is no other connection to make. Not so for the adolescent in need of a friend.
Plummer is on screen for nearly the entire two-hour feature, and manages to hold the episodic story together with his brilliant portrayal of youth in search of answers. It is his character and the cruel effects of impoverished despair that lend an epic struggle to the plot. This, plus the fantastically shot views of the American countryside help to put everything into clear perspective. The film offers a memorable viewpoint of a world seldom shown in such heightened and vivid colour.