Late Fame
Willem Dafoe plays a forgotten poet who, much to his surprise and delight, gets embraced by a new generation in this rueful comedy-drama poking fun at the New York literati while celebrating the city's bohemian past
Ed Saxberger (Dafoe) is returning home from his post office job in New York City when his neighbour points out that a young man has been waiting across the street for his return. The reason? In Saxberger’s youth, he published a poetry collection that never made a splash, but it has now fallen into the hands of this young man and his literary friends at NYU, and they’ve reclaimed it as a lost classic. Flattered, Saxberger joins the youthful cohort as they strive towards literary greatness of their own.
It is not particularly surprising that Saxberger’s own creative spark is reignited by this chance encounter – not to mention the attention he receives from the captivating actress Gloria (Lee), who moves in their circles – but Late Fame is a joy as Saxberger takes that journey. Director Kent Jones has adapted a posthumously published novella by Arthur Schnitzler, a leading Viennese Modernist author and playwright, into a film that gently pokes fun at NYC literati while celebrating the city’s endless ability to embrace artists of all description. Gloria’s rendition of Kurt Weill’s Surabaya Johnny is a marvellous nod to the story’s original milieu.
As with her screenplay for 2023’s May December, screenwriter Samy Burch seems fascinated by colliding generations and identity as performance. The personal and ethical stakes are lower here, as is perhaps the story’s punch, but the quiet tragedy and rueful, gentle humour are present and affecting. Dafoe is a winning everyman, and Lee’s performance – her best to date – maximises archness and sincerity.
Released 4 Sep by Vertigo; certificate 15