One of the things that is most striking about its instant visual appeal is the genuineness of the documenting of the physical growth and development of all the main characters invovled in this story - which naturally deepens their mental and psychological evolution as well. The first shot, which is already one of the most iconic in arthouse cinema history, is that of Mason (Ellar Coltrane) innocently looking at the sky, a simple celebration of thoughtlessness and childish playfulness. From then on, we are aware of the fact that these eyes, and this face, will be marked by the natural flow of existance and a relentless array of experiences. Relentless, indeed, but also quite normal, if we can call life "normal" as such.
Linklater, in fact, is driven by genuine feelings in chronicling Mason's life. The events that unravel are everyday events that spin out of his relationship with his divorced parents (Patricia Arquette and Ethan Hawke), his sister (Lorelei Linklater) as well as his school, friendships and so on. There is no metaphorical representation, no pathetic fallacy, no poetic juxtaposition. Yet, by its very nature and through its realism, it is all those things. Its atmosphere is strengthened by the dialogue, that traces the different changes in slang and is ecen accentuated by side elements such as the choice in the musical score which in itself is an invaluable factor in the tracking of time.
In its three hour length, we witness the creation of a Dr. Frankenstein like creature, as Linklater's vision materialises with unparalleled organic meditation. It is a film that watched, looked and listened to the times it portrayed as if it too had been a living person. And in the same way, the characters too seem very much alive and therefore their imprefections clearly show. Mason is whiny and introversive - we clearly see the mistakes he makes, but as his mother makes them in falling for the wrong men, and his father's essential immaturity. The cast shows amazing commitment and connect with their characters so deeply as to intensify the overall experience even more. Patricia Arquette is particularly wonderful, sweet and charming - she is given the role of a lifetime as the mother of a child who grows up before our very eyes on the big screen. Yet, the level of commitment by cast and crew also shows by the fact that everyone seems to understand its very nature. As Craig Ferguson said in his book American on Purpose [paraphrased], when someone becomes a parent, they stop playing the leading character in their own lives and settle into the supporting role of someone else's.
Because Boyhood never goes over the top, it connects with the audience in a truly human way. Everyone will experience a subjectively different film, and interact with it in their own way collectively. That is what makes it so enriching after all. The unhurried pace reminds us that life is long, and yet just as short. And as we see Mason and the people around him trying to deal or even make sense out of the chaos of existance, it is inevitable for a viewer to ask himself or herself questions about the joys and pains of life.
Boyhood is nominated for six Academy Awards: Best Motion Picture, Best Supporting Actor (Ethan Hawke), Best Supporting Actress (Patricia Arquette), Best Director (Richard Linklater), Best Original Screenplay (Richard Linklater), Best Editing (Sandra Adair)
