Kodachrome – Film Review

Kodachrome, directed by Mark Raso, is a drama that takes viewers on an emotionally charged road trip, encapsulating themes of family reconciliation, the passage of time, and the obsolescence of analog media in a digital age. The film, inspired by a 2010 New York Times article by A.G. Sulzberger, follows a dying father and his estranged son as they journey to the last photo lab that processes Kodachrome film.

The story revolves around Matt Ryder (Jason Sudeikis), a down-on-his-luck record executive who is approached by Zooey Kern (Elizabeth Olsen), the nurse of his estranged father, Benjamin Ryder (Ed Harris). Benjamin, a renowned and cantankerous photojournalist, has been diagnosed with terminal cancer. His dying wish is to develop four rolls of Kodachrome film at the last lab that still processes it in Parsons, Kansas, before it closes its doors for good.

Initially reluctant, Matt is coerced into taking the road trip due to professional blackmail: his boss, who has connections with Benjamin, hints that accompanying his father might save Matt’s faltering career. As they journey across the country, accompanied by Zooey, the trio navigates through a landscape of emotional and physical detours.

Jason Sudeikis delivers a subdued performance as Matt, portraying a man burdened by unresolved anger and disappointment. His transition from a resentful son to a man seeking closure is executed with a nuanced subtlety that grounds the film. Sudeikis, primarily known for his comedic roles, adeptly handles the dramatic material, though there are moments where his character’s evolution feels rushed.

Ed Harris, as Benjamin Ryder, commands the screen with his portrayal of a grizzled, unapologetic artist. His character, though deeply flawed and often abrasive, evokes a sense of melancholy as he confronts his mortality and the legacy he leaves behind. Harris brings a gravitas to the role that elevates the film, though his character’s redemption arc feels somewhat predictable.

Elizabeth Olsen’s Zooey provides a stabilizing presence amid the tension between father and son. Her character, though not as deeply developed as the leads, serves as a compassionate mediator. Olsen’s performance is heartfelt, though Zooey’s backstory and motivations are underexplored, leaving her character feeling like a narrative device rather than a fully realized person.

Kodachrome delves into the theme of obsolescence, not only through the titular film but also through the relationships and careers of the characters. The impending closure of the Kodachrome lab mirrors the dwindling time Benjamin has left, emphasizing the transient nature of both life and technology. The road trip becomes a metaphor for the journey towards forgiveness and understanding, with the characters’ emotional baggage paralleled by the physical distance they must travel.

The film also touches on the theme of legacy, particularly through Benjamin’s obsession with his photographs. His relentless pursuit of capturing moments contrasts with his neglect of personal relationships, highlighting the tension between professional ambition and familial responsibility. This theme resonates with Matt, who grapples with his own career choices and unresolved issues with his father.

The cinematography by Alan Poon captures the expansive, often desolate American landscape, which serves as a fitting backdrop for the characters’ internal journeys. The use of light and color pays homage to the rich, saturated tones of Kodachrome film, adding a layer of visual nostalgia. The road trip sequences, interspersed with intimate close-ups, create a sense of both vastness and confinement, reflecting the characters’ emotional states.

The film’s soundtrack, featuring a mix of classic rock and contemporary tracks, complements the nostalgic tone. The music choices, though sometimes on the nose, effectively evoke the era of Kodachrome’s popularity and the personal histories of the characters. The sound design is understated, allowing the dialogue and performances to take center stage without distraction.

One of the film’s strengths lies in its exploration of complex family dynamics. The strained relationship between Matt and Benjamin is portrayed with authenticity, capturing the pain of unmet expectations and the struggle for reconciliation. The performances, particularly Harris’s, imbue the film with emotional depth, making the moments of connection genuinely moving.

The visual homage to Kodachrome film is another highlight, with the cinematography effectively evoking the medium’s distinct aesthetic. This visual nostalgia serves as a poignant reminder of the beauty of analog photography and the irreplaceable nature of certain experiences and memories.

Despite its emotional depth, Kodachrome suffers from a somewhat formulaic narrative structure. The road trip genre tropes are all present, from the initial reluctance of the protagonist to the inevitable bonding moments and ultimate redemption. This predictability undermines the film’s impact, making it feel like a series of familiar beats rather than a fresh exploration of its themes.

The character development, particularly for Zooey, feels incomplete. While Olsen delivers a strong performance, her character’s motivations and background remain underdeveloped, reducing her role to that of a narrative facilitator rather than an integral part of the story. Similarly, some of the secondary characters, like Matt’s boss and Benjamin’s colleagues, are one-dimensional, serving more as plot devices than fully realized individuals.

Kodachrome is a film that tugs at the heartstrings with its exploration of family, legacy, and the passage of time. Its strengths lie in the compelling performances, particularly from Ed Harris, and its nostalgic visual style. However, the predictability of its narrative and the underdevelopment of some characters prevent it from reaching its full potential.