The beginning of the new Al Pacino flick “Danny Collins” has a familiarity that teases contempt. Oh no, please, not another aging rock-star saga, not another post-midlife-crisis tale.
And while the movie is in many ways just that, hang with Danny on his conscience-cleansing sojourn. Because once the deeply flawed protagonist leaves behind his palatial digs in L.A. and age-inappropriate fiancée (Katarina Cas) for a New Jersey hotel room and an ill-advised visit to the adult son he’s never met, “Danny Collins” begins striking some sweet chords.
Danny’s soul-rattling epiphany comes in the form of a letter from John Lennon and Yoko Ono.
Christopher Plummer provides the first inkling of good things as Danny’s longtime manager and best friend, Frank Grubman,. Something in Plummer’s eyes, his character’s unfazed approach, to rock-star nonsense lends ballast to a listing set-up.
Frank gives Danny the long-undelivered missive from the ex-Beatle on Danny’s birthday. In gratitude, Danny leaves Frank to clean up the mess of canceling his lucrative U.S. tour dates.
Writer-director Dan Fogelman based his script on the story of Brit rocker Steve Tilston. In 2010, a memorabilia collector approached Tilston with a letter penned in 1971. Lennon had read with interest an interview with the very young performer in which he worried about what fame may cost him artistically.
Nick Offerman cuts a devilish figure as the rock ‘n’ roll zine editor who tells the young Danny (Davide Donatiello) greatness is about to befall him, and asks, is he ready?
Fogelman juxtaposes this scene with the older Danny rocking his biggest hit “Hey Baby Doll” for ardent fans who have aged along with him but don’t have the lifestyle resources to pretend otherwise. The rest is Fogelman’s “what-if” riff.
Given its shaky start, the story finds its surprisingly tender groove when Danny meets daughter-in-law Samantha (Jennifer Garner, full of intelligent warmth), hyperactive granddaughter Hope (Giselle Eisenberg) and makes a songwriting nest of a hotel suite in a New Jersey.
Bobby Cannavale does nicely gruff work as Tom, the son born of a concert tour hook-up. Where others might see an unexpected windfall in the arrival of the contrite rocker, this blue-collar contractor smells the baloney. He’s right to be suspicious. Danny’s a charismatic narcissist — an entertainer.
A number of moviegoers will likely welcome the nine Lennon songs threaded through the movie. They seem superfluous. More raw, true and tentative are Danny’s fledging compositions. Ryan Adams is one of the film’s composers and songwriters.
Annette Bening plays Mary, the no-nonsense manager of the Wood Cliff Lake Hilton, where Danny sets up shop by shipping in a baby grand Steinway.
He gently hits on her with regularity. She rebuffs. Bening is amusing as she looks askance at this ridiculous grown-up from behind her glasses.
It seems possible Danny hasn’t been told “no” for decades. Tom and Mary are all about telling him “no.”
A twist bonds father and son, at least more than they’ve ever been before. But given Danny’s character, the nascent connection feels vulnerable.
What Fogelman doesn’t quite achieve as screenwriter at the start of the film he makes up for in his directorial debut. He supports wonderfully the affable allure of his attuned cast.
Lisa Kennedy: 303-954-1567, lkennedy@denverpost.com or twitter.com/bylisakennedy
