Jackie

Tags

2010's, Billy Crudup, Biographical Drama, Drama, Greta Gerwig, Jackie, John Hurt, Natalie Portman, Pablo Larraín, Peter Sarsgaard

A rather revealing and surprising drama centred on Jackie Kennedy in the days following her husband’s startling assassination, Jackie boasts a strange intimacy courtesy of splendidly immersive direction from and an impeccable performance from Natalie Portman.

A week after President John F. Kennedy’s assassination, his wife and First Lady Jackie(Natalie Portman) reflects on the days from before and after her husband’s murder to an Unnamed Journalist(Billy Crudup) . She goes through a varying range of emotions following such a trauma; like the fact that her whole life is now changed, how to cope and how she is to be perceived by the shocked general public . The main thing that weighs on her mind is that her husband won’t be remembered and will be forgotten in history. She makes it her mission to ensure his legacy and uphold a sense of tradition, while dealing with the huge emotional fallout of losing her husband. Jackie finds some comfort in the presence of a Priest(John Hurt) and secretary Nancy Tuckerman(Greta Gerwig), plus some conflict with her almost broken up brother in law Robert(Peter Sarsgaard). Plus there is also the government who have their own views on how best to do Kennedy’s funeral, which don’t run in line with Jackie’s. Along the way, she reveals herself to be a lot more than just the glamorous wife of the President and a woman who could be a truly powerful force. The Reporter who interviews gets a lot more than he bargained for as Jackie is a lot more complex than he ever thought she could be.

Pablo Larraín jumps straight into the sorrow of grief and the impact of it; clearly not afraid to go to the dark places of such an event. He pulls no punches with how deep he plunges us into one woman’s mind and his direction is striking in its close proximity. A swirling camera that penetrates with slow, uncompromising close ups of The First Lady and places us firmly in the kaleidoscope of grief and chaos that hits with full force. I also appreciate the cinematography that goes from dark to highly lit and has moments of old news grain to make it authentic. Things like this always impress a review such as myself and I think it adds to the experience of Jackie as a whole. I think what Jackie really accomplishes the most is shedding light on a particularly famous figure and making us see them in A mournful and deeply moving score from Mica Levi fits the film exquisitely; capturing the upheaval of grief and the vacillating personality of its titular subject with a sense of grandeur and palpable intimacy.

Front and centre of Jackie is a truly astonishing and totally believable performance from the always committed Natalie Portman . She plays Jackie as a lady who knows that every eye is on her and has grown to know when to put on a smile and when to behave. Portman delves into all facets of this icon; from the grace and decorum to the anger and steel that are rarely glimpsed by the general public. A lot of it is in the eyes that showcase such deep feeling in this time of confusion and the on point voice that is truly a marvel to hear with its hushed refinement and low sense of authority that slowly comes through . It’s a truly complete performance that sheds new light on an iconic figure. All of the impact is all down to the fine work of Natalie Portman, who delivers one of her finest roles. Peter Sarsgaard is effective as the devastated Robert Kennedy whose mood changes in mercurial fashion and look out for Greta Gerwig as a secretary who provides support to the grieving titular lady. John Hurt, in one of his last performances before his passing, brings out a stately yet approachable quality as a priest . With his authoritative voice, he is a confidante to Jackie and though he can’t provide any absolute answers on the quickness of life and harshness of death , he provides an authentic and warmly sage rumination to the grieving widow at the centre of the film. Hurt was always an impeccable performer and his turn here may be small, but it packs an impact. Billy Crudup provides the eyes and ears of the piece as the journalist getting a lot more than he expected from his interview. The supporting cast is well assembled with talent but Jackie is truly Natalie Portman’s show and she more than rises to the occasion.

A striking and impactful drama that studies grief, tradition and one of the most famous women to grace the planet, Jackie is extremely fascinating filmmaking from Pablo Larraín with a stunning central turn from Natalie Portman.

Big Eyes

Tags

2010's, Amy Adams, Based on a true story, Big Eyes, Biographical Drama, Christoph Waltz, Danny Huston, Jason Schwartzman, Krysten Ritter, Terence Stamp, Tim Burton

Film Title

Big Eyes

Director

Tim Burton

Starring

• Amy Adams as Margaret Keane
• Christoph Waltz as Walter Keane
• Danny Huston as Dick Nolan
• Terence Stamp as John Canaday
• Jason Schwartzman as Ruben
• Krysten Ritter as DeeAnn

A biographical drama about Margaret Keane, who for years was in the shadow of her husband Walter who claimed credit for her work, Big Eyes is evocatively translated to the screen and showcases Tim Burton’s direction with a maturity, and great performances from Amy Adams and Christoph Waltz. If it’s another side of Burton you want, starting with Big Eyes is a recommended one from me.

We start in the late 1950’s, where Margaret packs up her daughter Jane and leaves her first husband. She travels and attempts to make a life in North Beach, San Francisco. But being a divorced single mother isn’t easy for Margaret, though she gets a job at a furniture company. However, art is her biggest passion in the world and the things she paints are often of children with extremely large eyes, which she tries to sell outdoors though to no avail. It is here that charming Walter Keane enters the picture, posing as a painter himself( though we’ll soon learn otherwise). Walter, with his stories and larger than life personality, sweeps Margaret off her feet and after a brief courtship the two are married. With both being art minded, they attempt to make something of their lives doing what they love. After both craft paintings that are displayed in a nightclub, someone takes interest in one of Margaret’s big eye paintings. Rather than jinx a sale, Walter lies and says that he is the artist. Making money from this Walter is thrilled, though Margaret is dismayed at him being so covert. Ultimately, as Margaret is so vulnerable and fragile, Walter uses this to manipulate her into corroborating his scheme and keeping her silent as he passes off her work as his own. This traps Margaret in a big lie that she doesn’t know how to escape from(mainly because she has helped perpetuate it under duress), and for a while she goes along with it, continuing to paint what people don’t know is her work. But as the paintings get more noticed and Walter more greedy, she realises that she can no longer live this sham any more and with burning and emerging toughness, she takes action to reclaim her rightful ownership in a court battle.

Tim Burton is behind the camera in the director’s chair and he does something different here. Over his last few films, I felt that Burton was somehow becoming a bit rote and not at his usual best, due to growing use of CGI and a lack of attention to story. But with Big Eyes, Burton discovers his footing again by toning down his usual macabre sentiments in favour of a deeper and revealing style. Burton doesn’t completely jettison his usual kookiness, as can be attested to a few peculiar sequences where Margaret sees other people with eyes similar to her work, he just reins in his creepy visuals a bit more and crafts a very intimate and personal story that stands out. I definitely enjoyed this more traditional approach from Tim Burton and peppered with a little sprinkling of his unusual magic that don’t overpower the story, Big Eyes excels at being a change of pace in the most effective way.  You can see that Burton has a big respect for the artistic mind by the way he presents Margaret’s emotional attachments to her work, that sadly were relegated to the background by the conniving cons of her husband. As dark as the story is when you look at it closely, there is a wealth of humour thrown in that makes fun of opinions critics have on art and the overall value of it, specifically in regards to monetary worth, which it seems the slimy Walter was consumed with. When the battle of wills omen escape and it leads to court, fun can be head in sequences that prove the truth can indeed be stranger than fiction. Now I wouldn’t say Big Eyes is a perfect movie, it does have a few little flaws. During various moments, the story did find itself losing its way and getting a little repetitive. And a bit more oomph in the middle may have been beneficial, though it isn’t something that does harm to an intriguing piece. But I found myself invested watching this film for the story it provided and an insight into the mind of an artist, while covering themes of personal connection to ones work and female oppression. The flaws I mentioned which in honesty where little ones, thankfully don’t spoil the overall product which is a definite improvement on Burton’s recent output because it tries something you wouldn’t expect from him. The visuals are kept to being bright and ever so slightly mocking as the real turmoil of Margaret was largely hidden by the outward appearance of everything being serene. And Danny Elfman provides a brimming, urgent score, perfectly in touch with Margaret’s awakening.

Amy Adams gorgeously and subtly plays Margaret Keane as a shy and meek woman, who slowly burns with resentment at her circumstances, knowing that some of it falls to her. Right from the start, Adams makes you relate and sympathise with this woman whose good nature was taken advantage of until she eventually decided enough was enough and she wanted her story to be known. She starts out birdlike and fragile and then little by little through nuance, Adams invests the part with a burgeoning voice that won’t be silenced anymore or swept under the carpet. It is an exquisite and moving performance that doesn’t need big theatrics to be effective; instead the quiet and graceful approach from Amy Adams works beautifully in imbuing the part of this artist with a passion and inner strength that eventually percolates through. At the other end of the spectrum is Christoph Waltz. His portrayal of the ruthless Walter is one that features loud and bold brush strokes, which Waltz obviously has customary fun with. I’ve read other reviews that say that he goes way over the top in his work and that it is a detriment to Big Eyes. I wouldn’t go that far because I think the part needs an exuberance that Waltz can provide as evidenced by his other work in movies. The part of Walter is this big talking, savvy man with hardly any subtlety, much like the ringmaster of the circus. And I must say, Waltz has that energy and more, which I think balances well with the gentle work of Amy Adams. Danny Huston as the man narrating the film, is appropriately barbed and cynical, which seems ideal as he is portraying a gossip columnist. The great Terence Stamp infuses his small appearance as a scathing critic with a biting sensibility, while Jason Schwartzman makes for laughs as a snooty artist. It is only Krysten Ritter who doesn’t resonate, as she is given scant to do and can’t bring whatever life there was to the part of Margaret’s friend.

A down to Earth change of pace from Tim Burton, Big Eyes proves to be a memorable version of a true life story, that has a core of emotion and respect regarding art and two excellent performances from the leads.

Henry and June

Tags

1990's, Biographical Drama, Erotic Drama, Fred Ward, Henry and June, Kevin Spacey, Maria de Medeiros, Philip Kaufman, Richard E. Grant, Uma Thurman

Film Title

Henry and June

Director

Philip Kaufman

Starring

• Maria de Medeiros as Anaïs Nin
• Fred Ward as Henry Miller
• Uma Thurman as June Miller
• Richard E. Grant as Hugo
• Kevin Spacey as Osborn

Inspired by the diaries of Anaïs Nin, who documented in them her strange and intriguing relationships with author Henry Miller and his wife June, Henry and June’s casts a haunting spell and details the intense sexual encounters and impact all three had on each other.

Paris, in 1931. Anaïs Nin is an aspiring writer looking for something else. She is married to the good but somewhat dull and unenthusiastic Hugo, Anaïs craves excitement and adventure. These come knocking at her door in the form of writer Henry Miller, who is in Paris working on what would later become his first novel. Anaïs is intrigued by Henry and relates to his discussions of literacy and art. She begins to develop feelings for the boorish Henry and soon enough passion is ablaze. Also introduced into this is Henry’s bisexual wife June; a most alluring woman who begins to entrance Anaïs as well, despite her mercurial tendencies. Anaïs witnesses the temperamental relationship between the two and while she still loves her husband, the promise of a bohemian lifestyle with Henry and June is too tempting to resist. Her eyes are opened to sexual experience and her longings become very erotic as a result, culminating in an unusual love triangle with Henry and June. When the capricious June returns to America, she gives permission for the sexually blooming Anaïs to continue an affair with Henry. Anaïs continues to evolve and becomes immersed in a world of bohemian and sexual abandon with Henry, as she becomes one of the inspirations for his book(the other being June) and Anaïs does something similar with her writings. But Anaïs and Henry often disagree as the mix of sexual adventure and they critique each other’s work; much  in a similar way to how June used to criticise Henry’s work and how one of the characters is an unflattering portrait of her. Yet when June returns to Paris in typically difficult style, passions boil over as Anaïs and Henry must both contend with the fact that she forms the last point of the sexual triangle that could easily break due to the desires and passions everyone has that become complex.

As he is very much an iconoclastic director, Philip Kaufman is right at home directing something provocative and controversial like Henry and June. Kaufman clearly enjoys showcasing these complex characters and wastes no time in getting this across through expressionistic close-ups and silent era fade outs to signify the longings each of the three characters bears. While his direction is intelligent and well done, a minor flaw emerges when it comes to pace that can get grindingly slow. But with this being the only thing I can nitpick at, it’s more than safe to say that Henry and June is a success in its presentation of a dark and intense love triangle between three intriguing people. From doing research about the movie, it appears to have a big impact on the ratings system upon release as it became the first film to be certified NC-17. The rating signified that the film would have sexual content for adults only but was not given an X certificate that could have damaged people flocking to see it in theatres. And I can’t review Henry and June without talking about the sexual scenes as they are what makes up the core of the film. The scenes of a sexual nature are explicit to be sure, but they are not the stuff of skin flicks. Rather, these scenes are artfully shot and because they take basis from Anaïs’ diaries and expressions, have an intellectual, serious and observant quality to them that helps them stand out from mainstream sex scenes. I can see why they invented a new rating for this kind of film as it does deal heavily with sex, but is an artistic exploration of the three-way relationship, rather than a titillating one.By far one of the biggest draws that can be taken from Henry and June is the splendidly evocative cinematography. Bathing scenes in a sensual glow and tinged with a moody and melancholy feeling, it’s a truly marvellous visual style that really brings the passionate and most unusual story to stylish life. Coupled with the cinematography is the marvellous editing and jazz soundtrack, that helps the film gain something of a dreamlike and hypnotic impact that presses itself into the memory.

With her round eyes and elfin features that suggest a girlish innocence, Maria de Medeiros is extremely good at playing Anaïs Nin, who emerges as a passionate adventurer in all things erotic thanks to Henry and June. Maria de Medeiros is one of those people that the camera loves, but can also emote with a depth and subtlety, crafting Anaïs into a complex woman who has a core of observational passion and curiosity that consumes her little by little. I can’t picture anyone else playing Anaïs quite like de Medeiros, as she is simply marvellous in the role. Essaying the part of the controversial Henry Miller, Fred Ward plays him like a bear, full of vigour and unmissable shows of anger. Walking and talking like an old-fashioned gangster minus the Tommy gun, Ward invests Henry with a lust for life and an inability to sever himself from inevitable trouble, as it is too good to walk away from. Yet it is Uma Thurman who makes possibly the biggest and most memorable contribution to the film as one half of the titular couple. Playing so many different sides to June, from sensual and engaging, angry and bitter, tragic and unforgiving, Thurman doesn’t miss a beat and it says a lot when you miss her when she isn’t on screen. That’s a lot of clout to have and Uma Thurman makes her presence felt throughout, with her haunting presence and accent employed. Although he has probably the most thankless role of the film, Richard E. Grant does his best as the husband of Anaïs, who is safe and pleasing yet can’t quite provide the excitement that Anaïs craves. Also viewers should watch out for Kevin Spacey in a supporting role as the louche man who introduces Anaïs to Miller.

Visually splendid, well acted and benefiting from the intelligent direction of Philip Kaufman, as well as more than overcoming the sometimes overly languid pace, Henry and June is daringly adult cinema that knows how to be provocative and artistic in equal measures.

My Mother’s Castle

Tags

1990's, Biographical Drama, Didier Pain, Foreign Language Film, Joris Molinas, Julien Ciamaca, Marcel Pagnol, My Mother's Castle, Nathalie Roussel, Philippe Caubère, Philippe Uchan, Thérèse Liotard, Yves Robert

Film Title

My Mother’s Castle

Director

Yves Robert

Starring

• Julien Ciamaca as Marcel Pagnol
• Philippe Caubère as Joseph Pagnol
• Nathalie Roussel as Augustine Pagnol
• Philippe Uchan as Bouzigue
• Didier Pain as Uncle Jules
• Thérèse Liotard as Aunt Rose
• Joris Molinas as Lili

A continuation of Marcel Pagnol’s childhood memories in turn of the century France, My Mother’s Castle provides a heartfelt and irresistible companion piece to My Father’s Glory. Filled with heartfelt moments and loving technical work, particularly in the locations and cinematography, My Mother’s Castle is just spellbinding and charming in equal measure.

This film picks up after the summer adventure that framed the first movie with the adult Marcel still narrating his eventful childhood. Marcel is a little older now, but still yearns for the beloved hills that brought so much joy to him. Yet as he is getting older there is pressures to grow up, especially in school as he has been selected to take part in a competition for a scholarship to secondary school. The memory of the summer home is never far from his mind, and he is finally granted his wish when he and his family; teacher father Joseph, gentle mother Augustine, little brother Paul and toddler sister Germaine. The experience is once more wonderful for the young Marcel, who reconnects with old chum Lili and discovers many other things, among the nature and games he takes part in. Chief among these is the pangs of a first crush on pretentious girl named Isabelle, who treats Marcel like a slave as he tries to please her but is blinded by the girl he sees as loving. Yet these feelings fizzle out when Marcel sees how haughty she is, but nothing dims his love of the Provence countryside. But, there are problems because the path the family takes whenever they visit the summer house in the hills is a long and arduous one that goes around many rich estates and they unfortunately have to scale to a minimum. Hope comes in the jovial form of Bouzigue, a former student of Joseph’s who works on the canals that back on to the properties. As a favour, he gives the family a key that lets them go through the doors that link the properties and in turn cut their journey down to much less than before. Danger is present with the prospect of getting caught by anyone of the landowners(many of whom are eccentrics), but it’s still all part of the adventure for Marcel and his family as they venture through more frequently. Yet with him now growing up and approaching adolescence, how long will the adventures continue for the young and imaginative Marcel?

Yves Robert directs once more and brings out all the love, charm and wit of Marcel’s young years to the screen with panache and care. To say that My Mother’s Castle is a sequel is to do it a disservice( both films were made back to back after all), as it is a continuation of the first film and one that is just as good as it. My Mother’s Castle is less episodic than My Father’s Glory, but is just as compelling as it deals with more emotions than the first as Marcel continues to grow and observe the world around him. There is still a big amount of warmth to the film, it just deals with Marcel approaching adolescence and seeing the complexities of life. All of this is done with the most astonishing care and love, helped by the sprightly direction that knows when to slow down and gives us insights into the characters. By this point, we have come to love the characters(including the talkative and slightly pompous Uncle Jules and loving Aunt Rose who appear again) and for me to say that seeing the family once more wasn’t enjoyable, would be for me to lie. The film manages to have both a healthy amount of drama and comedy, with Marcel’s struggles to grow up, his families attempts to not be caught sneaking through the gardens of the houses and his pining for the stuck up Isabelle all highlights of the two genres. Colour abounds from every frame within My Mother’s Castle, signifying both the impish adventure of childhood and ultimately the time when we must all become a lot more serious and focus on what lies ahead for us. And it must be stated that while there is so much fun to be had, the film doesn’t forget the emotional pull. As it concludes and Marcel reflects for the last time, I think everyone who sees this film will at least have a tear in their eye as the emotions and heartfelt impact of the piece is palpable. Splendid music, laced with a certain melancholy reflecting the transition from young boy to young man is once more a beautifully brought together treat.

Once again, we have the wonderous cast in superb roles that fit them all like gloves. In the lead of the growing Marcel, Julien Ciamaca impresses again with his natural delivery and abundance of charm. The character of Marcel is now a little wiser yet still unaware of certain things in life and Ciamaca brings out the clinging onto childhood and the knowledge of adolescence to great effect in a touching performance. Philippe Caubère as the bespectacled father and Nathalie Roussel as the loving mother are wonderfully paired and exhibit just the right amount of care and fairness to their respective roles within the scheme of things. The new addition to the cast of colourful characters of Marcel’s childhood, Philippe Uchan is all good heart and jovial tendencies playing the kind former student of Joseph, who provides the family with the means to visit the country idyll as much as they like. And with Didier Pain, Thérèse Liotard and Joris Molinas returning, you can’t really ask for more from this heartening movie.

With the added heft of adolescent moments that shape Marcel’s life but also the hope of a child’s memories and treasures, My Mother’s Castle emerges as a wholly moving experience and when coupled with My Father’s Glory, an utterly dazzling and lovely experience.

My Father’s Glory

Tags

1990's, Biographical Drama, Didier Pain, Foreign Language Film, Joris Molinas, Julien Ciamaca, Marcel Pagnol, My Father's Glory, Nathalie Roussel, Philippe Caubère, Thérèse Liotard, Yves Robert

Film Title

My Father’s Glory

Director

Yves Robert

Starring

• Julien Ciamaca as Marcel Pagnol
• Philippe Caubère as Joseph Pagnol
• Nathalie Roussel as Augustine Pagnol
• Didier Pain as Uncle Jules
• Thérèse Liotard as Aunt Rose
• Joris Molinas as Lili

A sublimely enchanting and thoroughly engaging movie, My Father’s Glory charts the events in the childhood of author/ film maker Marcel Pagnol’s life. Told as a set of anecdotes from mainly a summer adventure in the hills of Provence, it is impossible to not be swept up in this tale based on Pagnol’s memoirs as it just grabs a hold of you in a subtle way and invites you to bathe in the splendid idyll of childhood.

Marcel Pagnol was born in 1895 in Aubagne, France and throughout My Father’s Glory, as an adult he narrates the subsequent events in his youth and the impact they had on him. His father Joseph was a schoolteacher who is firm but incredibly warm and his mother is a sweetly engaging woman named Augustine. The young Marcel, who moves to Marseille when he is young, shows brightness from the age of three and a spirited imagination, which obviously led to his literacy talents in later life. He idolizes his father, who in his eyes is the turning point of the universe and holds deep adoration for his mother. Also around him is his younger brother Paul, a baby sister, nurturing Aunt Rose and Uncle Jules;who is a man of religion and tall, inventive tales. The differing in attitudes between Marcel’s father Joseph(who is an atheist) and pious Jules provides an amusing backdrop as they bicker often over dinners about beliefs. One summer break, Aunt Rose and Uncle Jules invite the rest of the family to a summer house in Provence. Surrounded by hills, mountains and nature, the young Marcel comes into his element as he begins exploring and encountering adventures. Along the way he meets Lili, a boy adept at providing for his family in the wilderness. The two become fast friends and bond over their discoveries over the course of the summer. Meanwhile, tensions rise a bit between Joseph and Jules, with the latter showing Joseph up with his skills at hunting. These events show Marcel that while he has put his father on a pedestal, his father is not perfect. This combined with many more life lessons learned over the summer, open Marcel’s eyes and mind. But when it is time to return to the city, Marcel doesn’t know what to do as he can’t let go of all the wonderful times he experiences.

From the opening shots of the French countryside, director Yves Robert places us straight into the bucolic beauty and nostalgic glee of Marcel’s childhood memories. He employs a pace that is patient yet rewarding as it resembles the long summer days when everything  in the world seems so fresh and new. It’s hard not to be warmed by watching My Father’s Glory, it is a movie that practically lives and breathes in bright sunshine and puckish games. Yet, the film has something of a poignancy as we hear the adult Marcel reflecting on his time as a child, that was extremely happy and bright, but has now passed and is now a memory for him of a bygone era. If anyone else had directed My Father’s Glory, I’m almost certain they would crank up the sentimentality a lot. But in the capable hands of Robert, the film, while obviously nostalgic, has free charm and a moving undercurrent that keeps it from become a schmaltz fest. And one cannot simply review My Father’s Glory and not speak of the absolutely dazzling visuals and locations. Breathtaking in their natural beauty and dappled with sun, the world of Marcel’s childhood glows with the glee of a youth and rustic charm of the countryside that Marcel explores and becomes hugely enamored with as the movie goes on. The movie is told as events rather than a hugely structured plot, but that is part of the fun to be found. We get such a captivating picture of life from a child’s point of view that any quibbles people could find with narrative are put to bed rather quickly. Humour and drama can be found throughout, particularly in the skirmishes between Joseph and Jules, which remain cordial enough but at times rise to heated disagreements. A wistful score is the perfect accompaniment to the idyllic areas of this tale, the simple pleasures of life and it must be said, the score reaches some exceptionally stunning highlights.

Portraying the young Marcel, who the events revolve around and his observations of them all, Julien Ciamaca is a marvel of youthful energy and high spirits. With a beaming smile and very expressive eyes, he captures the imaginative outlook of Marcel and the ways in which these childhood experiences make an indelible impression on his mind and soul. In other words, it’s a stunning performance from Ciamaca and one that is hard to forget. Essaying the role of the eponymous father, Philippe Caubère projects warmth, passion and a respect, that makes him appear to be almost super human in the eyes of his young son, when in fact he is only human after all. As Marcel’s almost ethereal mother, Nathalie Roussel is maternal love personified with an angelic face and graceful eloquence. Didier Pain often steals the show as the blustering and more than a little arrogant Uncle Jules; whose tendencies of bragging and talk of religion ignite arguments between him and Joseph. Then we have Thérèse Liotard as Aunt Rose, who like Augustine, is more than adept at defusing the debates between her husband and brother-in-law while being doting on the children around her. Rounding out the cast is Joris Molinas as the nature boy Lili, who becomes a very close friend of Marcel’s during the course of the summer stay.

An utterly beguiling evocation of childhood and the wide-eyed optimism of being young, My Father’s Glory is a beautiful testament to a wonderous growing up that both touches, amuses and warms the heart.