WATCH THE TRAILER HERE
First, the Recap:
The weight of conscious. To have the knowledge that even if the outcome of a specific occurrence was in no way your own fault, the guilt-ridden time following it plagues your existence. And how that guilt is assuaged may take on many forms, whether to numb the emotional pain, possibly even physical pain, or perhaps both. Highfalutin and wealthy patron Franny (Richard Gere) has lived a life of what some might call generosity. Giving money away left and right and setting himself up as an incredible philanthropist, he revels in his close friendship with a couple and their daughter, Olivia (Dakota Fanning). Feeling carefree and on top of the world, unexpected circumstances enter Franny’s life, changing it forever.
Years later, feeling a burden of culpability, Franny ends up reuniting with Olivia and her new husband, Luke (Theo James), who’ve come back to the city to live. Soon, Franny begins to provide things for the young couple, at first seen as innocently unexpected gestures, despite the awkwardness and extravagance of several offerings. But, as more time passes, the supposedly benign gifts start to concern Luke, who begins to doubt the truth and resolve Franny is demonstrating towards them. As the hesitations keep arising in Luke’s mind, Franny also takes on a different demeanor, finding other ways to deal with an internal struggle and the current, building conflict between the couple he is desperately trying to hang onto. But, can one truly recreate the past?
Next, my Mind:
With the acting pedigree, both of veteran and still-rising status, present in writer/director Andrew Renzi’s first independent feature film, one might expect some very affluent characters and strength of narrative to be delivered. While on some levels this was achieved via the potent catalyst for the tale’s ultimate set-up and the subsequent ramifications and consequences of it on the lead’s persona, the overall dramatic impact still falls a little short. While the intended friction and schism among the main characters involved does play out, the affair still becomes a bit convoluted and disconnected between them all, despite the understanding of how and why they are acting and feeling the way they are. It is a great attempt, but not quite faultless.
Gere has almost always been a solid bet in a film of this nature, and he does execute the role of Franny quite well, imbuing him with all the traits that create a character you love in one moment then suddenly dislike the next. His portrayal of an increasingly erratic man on the edge is actually the best overall element of the film for this reviewer. Truly, both James and Fanning seem completely sold short playing the harried couple, and even though one feels for their situation, it never seems quite enough to totally engage with them or their plight to the depth one might desire. Some interactions between these three seemed borderline forced and not so realistic as a taut drama such as this might usually offer.
Overall, “The Benefactor” is by no means the worst drama out there, nor is it the prime offering from any of these actors either. If anything, it was a decent starting point for Renzi’s future feature film efforts that, with a tad more polish, could present a formula for some great indie projects.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
