Director: Richard Ledes
Writer: Richard Ledes
Cast: Elliott Gould, Fred Melamed, Stephanie Roth Haberle
Fred, the latest film by writer-director Richard Ledes, offers an unassuming snapshot of a multigenerational family coping with the effects of Alzheimer’s. It is a small film in every sense, never stretched remotely beyond its subject matter by a filmmaker who seems more comfortable producing an objective, sensitive drama than anything which would require greater scope.
Elliott Gould, who plays the eponymous character, is the film’s biggest draw, but, while Fred craves to be the centre of attention, he does not have as dominant a role as you might expect. He lives with his wife, Susan (Judith Roberts), in their modest home in upstate New York, a long way from the big city and, significantly, from their family. Both are ill, but Susan’s condition is far worse; she suffers physically as well as mentally and requires around-the-clock assistance from a live-in nurse (Mfoniso Udofia). This creates tension and an element of resentment in Fred – he seems to dislike the attention his wife receives and does not believe such a high level of care is necessary.
Gould is a fine comic actor, but it is difficult to gauge his tone here. With some interesting mannerisms and ready quips, Fred clearly wants to be the larger-than-life character Gould is known for, but he is no longer able to perform that role. He struggles to adapt to his wife’s deterioration and is increasingly unable to provide everything she needs. He brushes off increasingly frequent slippages of memory, maintaining an outwardly stubborn demeanor, but it is clear he is suffering inside.
The drama centres around a visit from Fred and Susan’s son and daughter, Bob (Fred Melamed) and Carol (Stephanie Roth Haberle),who are grappling with the decision as to whether or not to move them into a nursing home. The additional care is vital but the difficulty lies in getting Fred to accept that he and his wife need to move on from the house they have always lived in. As well as being a peaceful environment, it is a treasure trove of memory, full of trinkets and relics, the embodiment of a life that is gradually slipping out of their minds.
Events do occur in Fred, but all are low key. In one of the main sequences, Bob has a minor run-in with a music therapist, showing his failure to understand the purpose behind remedies which do not cure the disease – the entire film is about the impossibility of understanding the disease itself. As the family sing together, Ledes questions who exactly the song is benefiting, Fred, Susan, their granddaughter Lila, the music therapist himself? Bob sees only the sadness and discomfort that results from the joy the music induces, and he is not entirely wrong to do so.
Fred only loosely engages with these issues, presenting the surface but little depth. It has a dreamy, inconclusive quality but Ledes is not ambitious enough to make anything remarkable out of an interesting scenario. He is dealing with an illness he knows intimately but it does not come across on the screen. He gives us the tension and frustration, but fails to engage with the pain and love at the heart of it all.