Three Billboards Outside Ebbing, Missouri (2017): On Desolation Row

[Over the last three or four weeks, I have been asked my opinion of two current films more than any others. They are Three Billboards Outside Ebbing, Missouri (a.k.a. Three Billboards) and Lady Bird.  As I am pretty backed up with movies to see and write about at the moment, here is a relatively short (for me) review of Three Billboards. The review of Lady Bird is upcoming next.)

Mildred (Frances McDormand) is a bereaved mother, whose daughter was raped and murdered months ago outside of their small Missouri town, and Mildred is consumed with rage. It’s a biblical order wrath, which she aims at the local police department, personified by Chief William Willoughby (Woody Harrelson), because the killer still has not been brought to justice or even identified. To shame Willoughby, stir up public opinion and galvanize the investigation, Mildred deploys three large billboards with a very clear message: why has the case not been solved.  And stir things up she does. Emotions are riled, memories stirred, violence begot, prejudice inflamed, and more. We soon realize that Willoughby is not a bad guy at all, quite the opposite. A lot of the public’s sympathy goes to him, rather than to Mildred. In the audience, our own empathic feelings become conflicted. There are clues and there are red herrings. The billboard controversy becomes overshadowed by other, domestic issues. Which is to say, things get complicated.  

Three Billboards is a dark comedy or perhaps a “dramedy” (if there is any semantic difference between those terms) - a film about anger and revenge, it is also, ultimately, about guilt, understanding, and about love (yes, even that). Written and directed by Martin McDonagh (In Bruges), this picture resembles a Coen Brothers movie both in tone and in its blend of comic and tragic elements - not just because it stars McDormand. The sharp and witty screenplay also reminds us of McDonagh’s earlier, brilliant career as a playwright (The Beauty Queen of Leenane, The Pillowman).

His Three Billboards is an enjoyable, engaging funny/sad film to watch. But the storyline does require a higher than usual level of suspended disbelief, if one thinks much about it. In a pure comedy, this would probably not be a problem, but for a dramatic film that aims to touch us emotionally, it’s unfortunate - but not enough to ruin things, especially if you are a fan of good acting.  Indeed, the three principal actors are superlative: McDormand, Harrelson and Sam Rockwell (playing Dixon, a bigoted, not-quite-bright, emotionally stunted police officer).

While most people, critics and moviegoers alike, have lauded the performances of these actors in the above order, I’d reverse it. McDormand’s character, Mildred has our sympathy because of her daughter’s horrifyingly tragic (thankfully off-screen) death, so we certainly get her motivation. Also, McDonagh has given her most of the best lines in the movie. But there is a caustic and cruel, unyieldingly self-righteous quality to Mildred  (along with some suggestion that this pre-dated the murder) which is unlikeable. So while McDormand’s performance is spot-on (this actress is always swell to watch), it seemed to me pretty much a one note deal, i.e. not very nuanced. That’s the role, not actor’s fault; but it brings my admiration of her work here down a notch.

Chief Willoughby has a lot going on in his life, personally as well as professionally, and dealing with Mildred isn’t even the worst of it. Still, he comes across as thoughtful, warm, tender and sympathetic. If there is a fault in the depiction, it is that Willoughby Is perhaps too saintly, but – again - that gets charged to the screenplay not the actor. Harrelson portrays the character beautifully.

While Rockwell’s Dixon is rather an asshole for much of the picture, he winds up being the most convincing character of the three. He’s not so much evil as stunted. And one gets the sense that he wants to be better; he’s just not sure how. His actions are sometimes comic, sometimes horrid, but we always see his vulnerability, his humanness. Rockwell convincingly gets all this across. Recognizing this, the Golden Globes have nominated him for best supporting actor of the year. I’d hope the Oscars do likewise..

Kudos also go to Lucas Hedges (last seen in Manchester By the Sea) who plays Mildred’s son, in the unenviable spot of being the surviving child of a parent obsessed with the dead one. It’s a small role enlivened by a good performance. The same can be said for the high level supporting work of Peter Dinklage and Caleb Landry Jones.

Three Billboards is an unusual, interesting, entertaining movie with great acting. Beautifully shot, too.  Put it on your list.

1 hr 55 mins.

Grade A-

In wide release.