By Andrew Buckner
Rating: ***** out of *****.
The beauty of the silent film era lies primarily in the actuality that the actors had to use facial expressions to supplant the sentiment that would later be inserted into dialogue. This was usually accompanied by either recorded or live music being played in the theater the work was being projected in to punctuate the emotions glimmering through actions and countenances on-screen.
These, along with tale-telling through striking camera angles, shadows, mimes and title cards, were the sparse tools of the filmmaking trade in the years from 1894-1929. It gave the cinematic compositions of this period an underlying sense of poetry, even in comic endeavors, which have proven to be forever endearing.
This time frame, more often than not, elucidates a constant sense of admiration for these aforementioned attributes alone. Such is just one of the many reasons “Right There”, a masterful eleven minute short from director Nathan Suher (2015’s “Next/ Door” and “Scary Little F*ckers”), is so immediately enjoyable and charismatic.
Suher, who wrote the delightful, well-paced script (from a story by Gregory Capello, Suher and Ian Taylor), captures the essence of Charlie Chaplin and the spirit of European cinema, which he has stated was his intention with this glorious piece, immaculately.
This wonderful, breezy homage concerns a man, The Guy (Ryan Hanley in a performance that is as energetic, endearing and enjoyable and perfectly fitting for the era Suher tributes) who tries to garner the attention of a woman, The Girl (Lauren A. Kennedy who does as phenomenal a job as Hanley, as does the entirety of the secondary cast, in conveying story through gestures).
He is drawn to her immediately. This intrigue only grows as he finds her sitting everyday on the same bench. Over the course of several weeks he tries to get her to notice him.
All the while we find ourselves riveted and wondering: “Is it his own shyness holding him back? Could he have been hurt in prior relationships? Was this pain recent? Will he get the girl?”
Because of the profoundly artistic nature of the epoch “Right There” is sending up we are drawn in by the nuance. Moreover, our intrigue is piqued by the high-caliber technical facets, the joy and broken-heartedness (sometimes in the same scene) that Suher and his filmmaking team pull off so effortlessly. Yet, because of the well-woven dramatic touches that balance the humor and heart terrifically we are forced to look deeper.
This is a testament to the profundity of the style of cinema Suher emulates so masterfully here. It is also a demonstration of the terrifically executed brilliance, the obvious admiration for the truly golden age of cinema Suher is tackling radiating on-screen. This is a gem.
The merry, often tender, and beautiful result of “Right There” is also thanks to a wonderful bit of opening animation by Dave Lubelczyk. Make-up artist Morgan Duffy captures the appearance of stars from the early 1900’s spectacularly. Chris Esper’s film editing is tremendous.
Jill Poisson’s cinematography and Kevin Keough’s score is striking and beautifully rendered. These characteristics, combine to make it all the easier to envision that we are sitting in a theater, before the age of “talkies”, and enthralled by this new invention that they call “moving pictures”.
Suher continues to showcase further range and a willingness to risk differing genres, atmospheres and approaches. The work he makes is transcendent to, not only fellow admirers of filmmaking, but everyone.
“Right There” is a sweet, lively brief work that reminds us of the tenderness, merriment, relatability and undeniable artistry the craft of unspoken big-screen storytelling can evoke.