A super confident woman, top of her game, a linguistics professor, one day discovers herself grasping for a word while she’s giving a lecture. This being the movies, where a cough in one scene leads to coughing up blood in the next, we automatically suspect she’s got Alzheimer’s. The title providing another nudge (why Still?). And so it turns out, in a movie that seems determined to put a polish on the disease of the week movie, and largely succeeds.
Polish number one is that it’s not just any old Alzheimer’s but familial Alzheimer’s, in which the gene – should you have been unlucky enough to have inherited it from an affected parent – means you have 100 per cent chance of getting Alzheimer’s yourself.
But really the claims for genre transcendence are made by the quality of cast that writers/directors Richard Glatzer and Wash Westmoreland have attracted to the project. Julianne Moore plays the unlucky Dr Alice Howland and in the scenes set in the doctor’s consulting room, where the camera rests entirely on her face as she told one awful truth after another, the wisdom of that casting decision becomes obvious. Matching her in strength and subtlety is Alec Baldwin as her uxorious but never sappy husband, Kate Bosworth as her prickly daughter, Hunter Parrish as the largely superfluous son and Kristen Stewart, clearly making a decision to step back from the spotlight, as the youngest daughter, who finds herself promoted to more of a caring role as the rest of the family quietly shuffle backwards.
It’s also an unusually nuanced film, and gives its victim far more agency than we’re used to in this sort of thing. So, alongside gruesome scenes like the one in which Alice pisses her light grey joggers – not a good look – and fails to recognise her daughter, there are others where she clearly uses her advancing condition to her advantage, ducking out of a dreary dinner party, or reading her youngest daughter’s diary and putting it down to “my illness”.
They’re an unusual duo, Glatzer and Westmoreland, who you might remember as the names behind 2001’s The Fluffer, a well acted, quirky gay rom-com. And might not remember as the names behind 2013’s The Last of Robin Hood, which cast an excellent Kevin Kline as Errol Flynn in his final skiddy years (and, incidentally, gave a small role to Errol’s grandson, Sean). That’s when they’re not working as producer/consultants on America’s Next Top Model.
That TV background will count against them in some quarters, where this film will be pegged as a disease of the weeker not worthy of even a first look. It’s irrefutable: that is exactly what it is, and the plaintive piano and string quartet soundtrack isn’t trying to deny it either. But no matter how mangey and emotionally manipulative, every dog has its day. And this, ladies and gents, is that canine.
© Steve Morrissey 2014