The Dano sequences also benefit enormously from the dense sound collages created by composer Atticus Ross and utilised by director Bill Pohlad to dramatise Wilson’s inner turmoil. Screenwriters Oren Moverman and Michael Alan Lerner create a staccato rhythm in the early scenes of Wilson’s boundless creativity in the studio that dovetail nicely with the more laid-back exchanges between the older Wilson and Ledbetter.
Her palpable sense of wonder at meeting this vulnerable man-child and growing determination to separate him from Landy is the strongest narrative link in a chain of strong performances from Banks, Cusack (low-key), Giamatti (wild-eyed), Dano (magnificent), the young actors hired to play Wilson’s brothers/bandmates and his eventual nemesis, cousin/vocalist Mike Love (Jake Abel). It was during this period that Wilson wandered off to buy a Cadillac and developed a fragile, halting relationship with the saleswoman at the dealership, Melinda Ledbetter.
Love & Mercy alternates between the recording sessions and Wilson’s two-decade later virtual imprisonment under the legal and medical spell of specious psychotherapist Dr. They’re very much worth hearing, the sound of divine inspiration at work.
John Cusack has even referred to the influence of Wilson’s methodology on these tapes in numerous interviews since the film’s premiere at last year’s Toronto festival. It is surely from these recordings that the framework for the gloriously emotional, if somewhat narratively trite, Love & Mercy was constructed. 2015 SYDNEY FILM FESTIVAL: The dedicated Beach Boys fan has almost certainly heard a clutch of so-called “tracking sessions” during which group leader Brian Wilson, in the later months of 1965 and well into the next year, coaxes a crack set of studio musicians (later dubbed “The Wrecking Crew”) through the recording of breathtakingly imaginative instrumental tracks that became the foundation for the pivotal 'Pet Sounds' album and subsequent stand-alone “pocket symphony” single release 'Good Vibrations'.
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