Samuel Beckett’s Complexities Are On Full Display In Ambitious & Unique Biopic

As it was announced Samuel Beckett had received the Nobel Prize for Literature, he sighed and quietly spoke, “What a catastrophe,” which acts as an apt metaphor for the conflicted life depicted in

Dance First (2024)

. From British director James Marsh, this unusual life story saw Gabriel Byrne portray the absurdist writer as he looked back on his experiences and reckoned with the lives destroyed in his wake. Along the way, we encounter the impact of his relationships with his mother, James Joyce, his wife, and mistress as a profound sense of regret pervades his probing internal monologues with himself.

Dance First is an interesting account of the personal life of an extraordinarily talented writer, although it may fail to capture the attention of those unfamiliar with his work. While not nearly as experimental as Beckett’s own theater productions, which utilized a minimalist style and stream-of-consciousness dialogue, there are echoes of the writer’s uncompromising nature in this mostly black-and-white, slow-paced drama. However, those drawn in by its subject will be rewarded with a deeply insightful take on the trials and tribulations of Beckett’s existence.

The Many Facets Of Beckett’s Personal Troubles Are Explored In Dance First

Gabriel Byrne plays the older Beckett, while Fionn O’Shea portrays him as a young man

While Beckett’s role among the most significant writers of the 20th century permeates Dance First, the main focus is on the man himself and how his drive toward creativity wreaked havoc on those who loved him. These character relationships are told in flashbacks as Beckett converses with himself in sparse, minimalist settings that are not unlike those of his own plays. From Beckett’s difficult relationship with his mother to the hardships of his marriage, almost every significant moment of his life appears to be littered with guilt and shame, which makes for insightful — but also draining — viewing.

The most interesting dynamic is introduced in the first half of the movie, which explores Beckett’s complicated friendship and mentee-like relationship with the titan of Irish literature, James Joyce. Aidan Gillen was perfectly cast as the Ulysses writer, and all his scenes were littered with powerful dialogue echoing the Irish people’s alienation from themselves, the struggle of being a writer, and the drive for creative people to make great work. The dynamic between Beckett and Joyce would have made a great film on its own, and it’s a shame it was not further explored in Dance First.

Gillen is a true scene stealer, although credit must be given to the strong performance of Gráinne Good as Joyce’s troubled daughter Lucia, who strikes up a relationship with Beckett only to be left heartbroken and institutionalized following his refusal to marry. There’s ruthlessness and vulnerability at the heart of Beckett’s character, and Fionn O’Shea does a fantastic job embodying the ambitious and often dismissively cruel characterization of Beckett as a younger man. Much like Beckett’s friendship with Joyce, his unusual relationship with Lucia felt like it had the potential to carry a full movie rather than just one segment.

Although the depiction of Beckett with the Joyce family is the main selling point, the true emotional core of Dance First lies in the relationship with his lover and eventual wife, Suzanne Dechevaux-Dumesni, who is expertly portrayed by Léonie Lojkine as a young woman and Sandrine Bonnaire in later life. From Suzanne’s deep devotion to the young Beckett to the embittered resentment of his infidelity in his later years, theirs was a complex relationship that seemed to shift throughout the decades. Through this relationship, Dance First humanizes Beckett while also pointing directly toward his personal imperfections.

With beautiful cinematography throughout, Dance First focused on presenting the emotional core of its story rather than any big watershed moments like in so many other biopics. Marsh has taken a far different approach than his previous Stephen Hawking biopic, The Theory of Everything, to give audiences a more minimal, almost theatrical experience. This is especially true of Beckett’s dialogue with himself, as the back-and-forth between the two Becketts feels akin to the philosophical exchanges of his characters, like Vladimir and Estragon in Waiting for Godot.

The Poetry Of Dance First’s Dialogue Echoes The Grandeur Of Beckett’s Writing

Dance First works due to its strong performances paired with Neil Forsyth’s script

Dance First brought to mind themes of aging, creativity, romance, and regret as we’re taken on a journey into the complex man behind some of the most esoteric but oddly moving theatrical works ever produced. As Beckett ponders how he will spend his Nobel Prize earnings, he considers all those he has forsaken, and it feels like, despite his literary success, his life’s goal is to make amends for those he wronged. There’s no denying Dance First can make for difficult viewing, and it’s certainly aimed at literary-minded audiences wishing to ponder life’s big questions.

Appropriately considering the subject, the sharp script by Neil Forsyth elevates the words of Beckett and Joyce to the grandeur of their work. Both Byrne and Gillen do extraordinary jobs in their portrayals of literary giants, exploiting the simultaneous depth and simplicity of the story. This proved, not for the first time, that Byrne and Gillen are among the greatest contemporary Irish actors around. Dance First won’t strike a chord with everyone, but it’s also not intended for mainstream appeal, and those who connect with it will do so deeply.

Dance First released in theaters August 9 and will be available on digital August 16.

3.0

Literary genius Samuel Beckett lived a life of many parts: Parisian bon vivant, WWII Resistance fighter, Nobel Prize-winning playwright, philandering husband, recluse. But despite all the adulation that came his way, he was a man acutely aware of his own failings.

Pros

• Dance First has brilliant performances by the cast
• The direction and script cleverly mirror Beckett’s own plays

Cons

• The film’s style is not for everyone