Dylan Thomas gave us the poem Do Not Go Gently Into That Good Night and judging by the movie Last Call that chronicles his last days, that is exactly what the Welsh poet did.
Rhys Ifans stars as Thomas and gives the icon life in such a way that he is simultaneously vivacious, vacant to other’s needs, and above all else—firmly aware of his innate gifts and how they have elevated him over the masses.
Now, he’s not pompous, he is a man of the people as we see in Last Call.
The film finds Thomas wandering into his favorite New York City pub at 10 a.m. and commencing a day of drinking that would conclude in his demise. In between, we get flashes of his marriage, his role as a father, and yes, his place in the lexicon of global society as a man gifted beyond grace with the wizardry of words. The latter made him a rock star, long before there were rock stars.
Last Call also plays with its timeline as that day at the bar plays out. He leaves his wife and children at home and heads out to America for what would be his final tour. It is chronicled as he crisscrossed the country for dozens of dates (mostly at college towns) where the crowds overwhelmed seating and people waited with bated breath for the man to come out and read his work in a style that was uniquely his.
Ifans’ turn as Thomas is exponentially enhanced by the epic day of drinking in the bar in New York City interspersed with scenes from his tour, both on the stage and off. Seeing him “come alive” in front of the crowds is a lesson in iconoclast incarnate. The actor embodies one of the best poets known to humankind with an innocent quality that seems to be equally awash in self-confidence, self-doubt, and self-destruction.
Helping him on this fateful tour is his manager, Brinnan (Tony Hale), his physician Dr. Felton (John Malkovich), and of course, the bartender serving up those 18 double shots for Thomas’ final foray, Carlos (Rodrigo Santoro). One might wonder why a 39-year-old man would need a physician to follow him around the country. Thomas was that kind of drinker. Despite warnings from his doctor, the spirits flow never abated.
It takes a special actor to inhabit a legend such as Thomas, who was personally elusive as he was professionally known. He waxed poetic, even talking to bar patrons of greeting fans while he was on tour. As such, this script is nothing short of a verbal volley miracle. Writer-director Steven Bernstein has paid a righteous tribute to one of humankind’s greatest wordsmiths.
The dialogue between characters is as rich as can be, and then there’s the sonic succulence emanating from the mouth of Thomas. It is a marvel. One could just sit there and witness this drunken gift to mankind speak about topics as far-reaching as the mind can imagine. In the hands of Ifans, he is warm, abrasive, flamboyant, and yes, the life of the party. But he also possesses an internal dialogue that could be what is causing him to drink himself to death.
The Wales actor portraying the Welsh poet is something Ifans clearly took as seriously as life itself. He may be an international genius, but at the end of the day, he is as ingrained in the British Isles country as its rich green landscapes. Ifans digs deep and delivers the performance of his career. Awash in booze and cigarettes, his Thomas is one who the actor humanizes in such a way that is a difficult needle to thread.
After all, he can come off as brash and sympathy for someone drinking themselves silly when he has so much to live for can be hard to watch. Yet in the hands of the veteran actor, Ifans does something incredible. He infuses Thomas with a humanity that is as fragile as one of those shot glasses shattering on the floor. Yes, he is strong and confident in his literary abilities and keenly aware of his celebrity status. Still, there is something in the undercurrent of this persona that screams “help.” Perhaps it is the disease of alcoholism. Maybe it is simply an inherent doubt that although the crowds laud his existence, internally he feels like a fraud. Of course, he isn’t, far from it. It’s just as Ifans portrays Thomas, the vulnerability during certain moments of Last Call is downright heartbreaking.
The supporting cast is right there with their lead. Malkovich is his usual sensational self in what could be the thankless role of the film. After all, he is a physician to a patient who does not want to get well. The veteran actor embodies the audiences’ frustration at what we are witnessing. At one point, the good doctor excuses himself for the simple reason that he feels he cannot do any more good. He returns, but it might be too late.
Hale, normally known for his comedic work on Arrested Development and Toy Story 4 (Forky!), brings a level-headed manager to Thomas’ wild and manic man. He is frustrated with his client. The tour is an enormous success. As Thomas saunters into that Manhattan bar, he has one more gig, but whether he will make it is firmly in question. Brinnan also serves as another entry for the audience to the world that is Thomas-land. His passion for his boss is palpable, yet it too may find a finish line.
Santoro’s Carlos is purely a bartender of the 50s. He keeps pouring, despite his customer’s clear need to be cut off long before his day of drinking concludes. Santoro and Ifans share several scenes together where the bar is filled with only he and the poet. Those moments range from touching to tenacious. When the establishment is filled with folks, they know the greatness in their presence, but he is treated just like one of the local barflies in a manner that is quite enjoyable. That is if we didn’t know the curtain that is about to fall on our protagonist.
Writer-director Bernstein clearly has a passion for the writer. For generations who are aware of his name, but not necessarily his work, Last Call will be a call to action. Hit the internet, go to the library, whatever needs to be done… seek out the work of one of human history’s greatest poets. Even as Bernstein has his character speak in random conversations throughout his epic tale, the prose is pure Thomasian. It is an exceptional tribute to a master and a stunning achievement in screenwriting to encapsulate the wordsmith at his most supreme and serene.
Grade: A