Good Boy
Sinister and haunting, Good Boy is an exploration of the proposed theory of Stockholm Syndrome in which a victim forms a psychological bond with their abuser. It’s gripping, with fascinating characters and stellar performances by Stephen Graham, Andrea Riseborough and Anson Boon. The film begins distorted with overstimulating colours and loud music, following the perspective of a young man as he goes through the motions of his party lifestyle. It’s a world full of drugs, infidelity and violent behaviours. Then there’s a sudden cut to a young woman being interviewed for a housekeeping job. The whole interaction has an eerie undercurrent of danger. The rules of employment are strange, including things like locking away her phone and carrying around a taser. As the interviewer tours her around his humble abode, where he lives with his quiet wife and over-excitable son, she discovers a man chained in the basement.
The casting is impeccable. Graham carries a nervous energy as Chris, one that’s juxtaposed with his vicious and unforgiving treatment of their victim, Tommy. He evokes fear in the viewer, but it’s clear from his body language that there’s someone far more malevolent guiding his every move. Enter Riseborough as Kathryn. An initially silent figure, pale and sickly looking, she at first seems like a kind and comforting figure for Tommy to latch onto. She gives him a little bit of freedom, never physically hurts him, and becomes upset whenever Chris has to punish Tommy for misbehaving. But as the story progresses, her true nature is revealed, and it’s far more manipulative and treacherous than Tommy or the audience can ever anticipate. Riseborough is fantastic; her motherly instinct shines, creating a jarring contrast with her menacing personality.
Boon doesn’t falter either, holding his own among these acting giants. He provides Tommy with just the right amount of childish immaturity and innocence to draw sympathy from those watching. But his ruthless swagger is a constant reminder that he’s not a good person. The infantilising script and Jan Komasa’s direction maintain the savagery within Tommy that prevents him from truly achieving character development. This is not to the detriment of Good Boy; it’s that constant progress and regression that highlight the complexity of Tommy’s predicament and the nuance within imperfect victims.
The approach to production heightens the suspense in the picture. There’s a sense of calm that dominates the visuals and audio after that opening sequence. That sharp distinction emphasises the before and after of Tommy’s life of being kidnapped. It highlights the person he was – cruel and mean with no regard for other people – and the journey he goes through in becoming kinder and more considerate. There’s a disturbing dichotomy in his progress and the terrible, awful things he goes through. The classical music amplifies the absurdity of the film, creating normalcy in Tommy’s chained figure, while the cinematography marvels in the use of reflections and transparent surfaces. Scenes of Tommy looking through the mirror and the use of the TV showing videos of his nights out symbolise an internalisation of the person he was and the life he left behind. The presence of doors, windows and arches visually showcases his role as an outsider in this newfound family.
Good Boy is an interesting and well-executed concept. While Bartek Bartosik’s script is a solid foundation with intriguing and multifaceted characters, it’s the actors and their brilliance that elevate the piece. With powerhouse actors, incredible direction and dynamic visuals, Good Boy is a mesmerising feature with no heroes – only villains with a slight glimmer of humanity who stumble upon each other.
Mae Trumata
Good Boy does not have a release date yet.
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