Having debuted here at the London Film Festival two years back, Richard Linklater’s darkly comedic character study finally receives a theatrical release. This gap may have been, in part, down to the distributor, as the film isn’t the easiest to market. It’s a quiet, muted affair with a style of humour worlds away from the kind of broad farce now associated with its lead, Jack Black (for better or worse, it was Linklater that set him on that path back with 2003’s School of Rock).
Thankfully, the director reigns in that signature anarchic shtick Black is now renowned for, resulting in not only the comedian’s finest lead role to date, but also allowing the gregarious performer to lose himself in the part in a way he’s never done before.
Bernie Tiede (Black) is the pillar of the community in a small Texan town, stretching his time and resources to lend his talents to the local musical society and other social events, while tending to a full-time service as the town mortician. His tubby and effeminate persona makes him a favourite amongst the older female contingent of the community, many of whom share his decidedly quaint viewpoint and lifestyle ideas. Striking up an unlikely friendship with Marjorie Nugent (Shirley MacLaine), a wealthy, reclusive widow, the two become surprisingly inseparable, although she constantly domineers and emotionally manipulates her well-meaning companion.
One evening having been pushed too far, Bernie guns down the old curmudgeon in a moment of madness. Bizarrely, he carries on as if nothing has happened, making excuses of her absence to those few who enquire about her. The town’s district attorney (Matthew McConaughey) begins to suspect foul play, however.
His fourteenth feature in a career which now spans over twenty years, Bernie illustrates once again just how versatile a filmmaker Linklater really is. He brings the perfect touch to the material here (actually based on a real-life murder case) which could have easily turned too kooky or gone full-on weirdsville in less assured hands. Linklater manages to keep the story grounded, in part, by using both profession and non-actors to play Bernie’s fellow supportive townsfolk in a series of talking heads peppered throughout the film. It’s a lovely device and it brings much character and nuance to the piece (one member of the town hilariously describes the aloof Nugent as having a “nose so high, she’d drown in a rainstorm.”)
The director similarly draws out three subtle and convincing performances from his principal actors. As well as the aforementioned Black, it’s an understated and bravely unsympathetic turn by MacLaine. McConaughey, too, skilfully sheds his usual on-screen persona. Last year’s Killer Joe marked a career reversal for the actor, but it’s this film which first paved the way to a more relaxed and genuine screen presence.
It’s been a long time coming, but it turns out Bernie has been worth the wait. Let’s hope any future Linklater films which utilise these past collaborators (McConaughey previously cropped up in both Dazed & Confused and the little-seen The Newton Boys) won’t be as slow in reaching our shores.
[Rating:4/5]
