''The Fabelmans' is so summative of the filmmaker’s memories and motivation that it almost feels like a goodbye.' Our review of Steven Spielberg's cine-memoir from its premiere in Toronto.
has probably earned the right to some public self-reflection, which he does in rich abundance in his new film,which premiered here at the Toronto International Film Festival on Saturday. A lengthy look back at a version of Spielberg’s childhood—its parental strife, its peripatetic existence, its dawning passion—is so summative of the filmmaker’s memories and motivation that it almost feels like a goodbye.
The man who’s made so many indelible images of childhood awe also has an oeuvre full of violence and horror, but often delivered with a formal dispassion., offers some explanation for that: as a sad tumult descends over his family, Sam retreats behind his camera, better to stay at an observing remove. Older, and discovering a secret involving a beloved family friend played warmly by, Sam briefly forsakes his hobby—or, really, his calling—altogether.
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