Truman Review

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When dealing with tales surrounding the theme of cancer, we often delve into the tragic set of events through either the perspective of the victim, or through their loved ones – be it their spouse, or children. But they aren’t the only people who suffer – for best friends have to deal with the forthcoming loss too. Yet it remains an outlook seldom seen in cinema, and it’s what lays the foundations for the moving, absorbing drama Truman, by Spanish filmmaker Cesc Gay.

Julian (Ricardo Darin) is terminally ill, and having given up on chemotherapy, he has decided, bravely, to see out his final few weeks without any medication. His closest, oldest friend Tomas (Javier Camara) has flown to Spain to surprise him, having emigrated to Canada and started a family years before. Though thrilled to see him, Julian’s complicated situation ensures that Tomas’ four day visit will be a busy one, not least because the former is desperately, if somewhat reluctantly, trying to find a new home for his ageing, and soon-to-be ownerless dog, Truman.

Gay manages to keep this endeavour free of melodrama, and gloriously understated in its approach. It remains subtle, it’s about Julian getting his affairs in order, and we watch on as he visits the vet, the doctor, his son – it’s not an overtly cinematic picture where he whispers his final words on his deathbed before the life support machine stops beeping intermittently. This is a simple idea, and one that is remarkably well executed, in part down to an intelligent screenplay by Gay and Tomas Aragay. Truman doesn’t evoke emotion from the usual places, it’s the small moments we generally don’t think about – such as where your pets may end up after you die.

What also helps matters are the two accomplished lead performances, from two highly accomplished actors. They share a very palpable chemistry too, which is of great commendation, for being so believable as best friends across decades is by no means easy to pull off, but they manage it. The investment derives too from the naturalistic creations that both Tomas and Julian are, for the latter in particular is highly flawed – this is not a film generated by pity, he’s human and imperfect, and that only adds to our emotional engagement. By the close of play you feel as though you know them so well too, and without any contrived implementation of flashbacks, but merely through conversations they have together, reminiscing about old times.

Truman is a gentle, moving picture that revels in the notion of subtlety, similarly to Carol we thrive and linger on the throwaway one-liners, the odd glances to one another, as a film that would undoubtedly be enriched by a second viewing. That is, of course, if you can bear it, for this is a bonafide tear-jerker and one that is likely to leave a lasting impression.