In ‘Dance First,’ Gabriel Byrne Portrays Samuel Beckett as the Man, Not the Myth

It’s hard to think of a genre more contrary to the essence of Samuel Beckett’s modernist sensibilities than the biopic. The Irish writer, who moved to Paris and found inspiration in the French language, became one of the most innovative literary figures of the latter half of the 20th century. Beckett, who passed away in 1989, was known for shunning publicity and self-promotion. When informed that he won the 1969 Nobel Prize in Literature, he hid away in a Tunisian hotel to avoid the fanfare, ultimately notifying Swedish officials that he was honored but would not attend the ceremony.

In “Dance First,” a film by James Marsh that focuses on Beckett’s life, cinematographer Antonio Paladino captures the narrative in sharp black and white. The film opens with Beckett, portrayed by Gabriel Byrne, attending the Nobel Prize event in Stockholm. “Quel catastrophe!” he murmurs to his wife, Suzanne Dechevaux-Dumesnil, played by Sandrine Bonnaire, as accolades for him are announced. According to credible biographical sources, the “catastrophe” remark is actually attributed to Beckett’s wife, both of whom detested the limelight.

Neil Forsyth, the screenplay writer, takes this realism and veers into surreal territory. In the film, Beckett disrupts the proceedings, grabs the check, and climbs the side wall to escape the public’s gaze. He finds himself in a setting reminiscent of a Greek tragedy or one of his own plays, engaging in a purgatorial dialogue with his alter-ego.

Byrne plays both sides of Beckett’s consciousness with dialectical precision. Somber and remorseful, his formally dressed Beckett explains that accepting the award allows him to donate the prize money. His double, dressed casually, questions, “Whose forgiveness do you need the most?” This conversation sets the stage for a series of retrospective chapters concerning people significant to Beckett’s conscience. This framing device, although somewhat theatrical, compartmentalizes his life into digestible segments.

The title “Dance First” draws from a line in Beckett’s classic, “Waiting for Godot,” which prioritizes dancing over thinking. However, the film diverges significantly from Beckett’s absurdist aesthetics. Known for his dedication to minimalism, Beckett reinvented whatever form he engaged with, be it plays like “Waiting for Godot” and “Endgame,” novels like the Beckett trilogy, or his 1965 film “Film.” He stripped his works of inessentials, defying conventional expectations to explore what remains when all superficial elements are removed.

Forsyth’s screenplay, in contrast, serves as a biographical summary and interpretation. There’s a journalistic quality in its recounting of Beckett’s life, neatly listing important moments. However, the film’s saving grace is its humane attempt to delve beyond the myth into the man himself. Byrne’s portrayal infuses Beckett with a weary melancholy, embodying the author’s grueling journey to the end. The physical hardship depicted ties seamlessly into Beckett’s recurring metaphors for the human condition.

Despite its factual alignment, the film tends to feel fabricated, distilling Beckett’s journey into a brisk series of self-contained chapters. Beckett’s complex relationship with his Protestant mother, May, played by Lisa Dwyer Hogg, barely scratches the surface, despite its profound impact on his career. Fionn O’Shea does a commendable job of portraying a young Beckett escaping his mother’s control, but the film misses other facets of a bond that influenced Beckett’s work profoundly.

The segments covering Lucia Joyce, James Joyce’s mentally ill daughter (played by Gráinne Good), and Beckett’s World War II Resistance efforts seem overly condensed. Yet, the interactions between O’Shea’s Beckett and Aidan Gillen’s James Joyce are nuanced and compelling. Gillen’s portrayal adds layers to Joyce’s character, balancing admiration for Beckett’s talent with a manipulative hope to match him with his unstable daughter.

Beckett’s aloof stance and ability to maintain emotional distance enabled his literary greatness but came at a personal cost, as the film depicts through his relationship with Suzanne. Played by Bonnaire and Léonie Lojkine at different life stages, Suzanne epitomizes the crucial support system that enabled Beckett’s literary achievements. Her tactical discretion and unwavering support were indispensable as Beckett recovered from a near-fatal stabbing and faced war-time dangers while engaged in the Resistance.

When Barbara Bray, a BBC script editor portrayed by Maxine Peake, enters as Beckett’s long-term mistress, Suzanne navigates their marital complexities with caution. Despite the pain Beckett inflicts on both women, his face reflects a silent acknowledgment of this suffering. Although he may seem selfish, it’s a mistake to consider him heartless.

Language may fall short in capturing the anguish Beckett caused, but his work like “Play,” a daring one-act depicting a triangle of infidelity, channels this torment into compelling art. Though Beckett is often labeled bleak, he had a multifaceted personality that included a love for sports, attractive women, male camaraderie, and good whiskey. O’Shea captures this side of Beckett, while Byrne’s portrayal emphasizes his reclusive nature.

Ultimately, the film’s emotional depth resonates with Beckett’s own sensitivity to the human condition. While “Dance First” may not completely capture Beckett’s essence, it personalizes a figure destined for literary greatness yet innately human.

Source: Los Angeles Times