BERNIE

Rumour mills can be a funny thing. They can blow something wildly out of proportion, they can vilify innocent people, and they can solidify factions without even a shred of actual proof. But curiously, the rumour mill doesn’t just spin one way. Once in a while, the person at the centre of the storm can in fact be so popular, that the rumours actually work in their favour…no matter how odd their situation may be.

BERNIE based on the true story of Bernie Tiede (played here by Jack Black). By way of documentary-style interviews, we learn that Tiede moved to the town of Carthage, TX, and slowly became a pillar of the community. He worked at the local funeral home where his attention to detail, and caring demeanour endeared him to the townspeople during some of the toughest moments in their lives. From there, he became a fixture around town, singing with the church choir, volunteering for community events, and becoming as well-liked as a person could want to be.

On the opposite end of the spectrum, there’s Marjorie Nugent (Shirley MacLaine). Marjorie is one of the richest and most powerful women in town, and is described as a person who would turn down a loan application just because she was bored. She isn’t well liked by the townspeople – and they don’t mince words in telling us so – but that doesn’t deter Bernie in reaching out to her in friendship several days after her husband passes away.

The two strike an unlikely friendship, with Bernie becoming her confidant and constant companion. With all of their activities and travels, one might even think the two were in a romantic relationship…if Bernie wasn’t so obviously gay. Still, their relationship kept people’s chins waggin’…until things started taking a turn south. That’s when Bernie makes a decision that is so shocking, that those same gossiping crows in town can’t believe it’s true.

Curiously, it’s not just that they can’t believe it’s true, but many of them refuse to believe it’s true.

I couldn’t help getting a Christopher Guest vibe from BERNIE. So much of the film is propelled by those interviews, that it almost defies the age old rule of “Show: Don’t tell”. I wasn’t exactly holding a stopwatch, but it felt like something close to 40% of the movie was dedicated to those talking heads – which might have made the whole thing feel very dry if those talking heads didn’t have so much character themselves. Collectively, they play the part of a small-town gossip machine and show how it can galvanize public opinion both for better and for worse.

Jack Black deserves a lot of credit for pulling this part off, since it’s one of the rare times he isn’t playing “Jack Black”. Some of his usual schtick is in play (his involvement in choirs and the town play allow him opportunities to sing), but by and large he tones down his whole act to something far more wholesome and genuine. He plays Bernie in an honest and giving way – a way that makes you believe he would reach out to others as often as he does, and give of himself so often. Black commits to the character in all its buttoned-up glory and never tilts it over to caricature.

The one detail I wasn’t so fussed about was the turn in Bernie and Marjorie’s relationship from caring to sour. It happened of course, so I’m not suggesting that the switch is unbelievable. However, the way in which it’s presented feels a bit like a jolting left-turn. For a solid twenty minutes or so, Bernie and Marjorie are as thick as thieves, and then all of a sudden she’s tap-dancing on his last nerve. The runtime of a film like this probably didn’t allow the change in attitude to be any more gradual, but it’s a storytelling technique I think could have made the whole experience a bit better.

That aside, Richard Linklater seems to have taken great strides to get the look, sound, and feel of this film just right. From the actors he chose to deliver those on-camera interviews, to the music he has playing from scene to scene (or Bernie singing if the occasion calls for it), it all creates an authentic setting that holds the viewer for 104 minutes. It’s as if the story is being told from inside the county line, and we’re being walked through it scene by scene. Even Matthew McConoughey’s performance, which does have more than a few brushstrokes of farce painted on it, still feels truthful in its own way. This overall aesthetic could only come through careful narrative and a lot of preparation. For that, Linklater deserves a lot of credit.

The black humour of BERNIE won’t be for everybody, but its unique blend of fact and fiction is both daring and refreshing. Behind all the laughs, the film is a question of truth, and if the facts are indeed the facts. Should a person’s actions be overlooked and forgiven just because they happen to be well-liked? Conversely, should a person be denied proper dignity just because they are not well-liked? These ideas are explored through some great small-town phrasing and some pitch black humour…all to great effect.

Matineescore: ★ ★ ★ out of ★ ★ ★ ★

What did you think? Please leave comments with your thoughts and reactions on BERNIE.