September 19, 2025
FILM: THE SUMMER BOOK
DIRECTED BY: CHARLIE MCDOWELL
STARRING: GLENN CLOSE, EMILY MATTHEWS, ANDERS DANIELSEN LIE
RATING: 3 out of 4 stars
By Dan Pal
It’s hard for those of us awards geeks to not approach a new film starring Glenn Close and think about whether it’s the one to finally get her that Oscar which has eluded her for over forty years. In The Summer Book she gives another great performance that, with enough support behind it, could be that film. These days, however, it takes more than just a good role but a host of people and financial resources behind a project to get it to reach that ultimate Hollywood summit. This is a pretty small and quiet film, directed by Charlie McDowell and based on a 1972 book by Swedish-Finnish author Tove Jansson. It’s a lovely homage to a setting and person that obviously had a major effect on the writer. It’s about aging, memories, and passing the torch to a new generation.
When we first meet Close as Grandmother (we never learn her real name) she walks with a slump and walking stick. She has no makeup but rather years of age spots and freckles all over her face. She’s got a non-specific northern European accent and some difficulty breathing. Grandmother is arriving with her son (Anders Danielsen Lie) and his daughter Sophia (Emily Matthews) at a small island in the Gulf of Finland. It features a rocky shore and no other homes except for an old wooden shack which Grandmother has been coming to for 47 years. Clearly, she’s spent a lot of time there, even as some sort of girl’s troop leader back in the day. The film alludes to her younger life as something of a feminist and teacher.
Generally, we don’t learn a lot about the family other than that Sophia’s mother has passed away and her father seems to be some kind of illustrator. This lack of detail is one of the first signs that this is not a traditional narrative. There’s not much exposition and there aren’t any major dramatic swings to move the story to a heart-wrenching climax, except for maybe one storm.
Instead, McDowell seems interested in offering the sensory joys of being in such a remote setting. We often see Grandmother sitting on a large rock or laying on the ground taking in the sound of wind and waves. As she walks over moss or walks in the water we can almost feel it with her. She takes deep pleasure in the peace the island offers her. Even though we don’t get all the details, we know that she has memories there which bring a smile to her face. If anything, the script suggests the power of the senses to recall the past even if those memories are fleeting. Grandmother is not happy with aging and the passage of time but she has pleasurable moments in which she can viscerally feel her youth and previous life on the island.
While Father is not given much depth or many opportunities to express himself, we often get snippets of Sophia’s inner dialogue. At times, she is bored, angry, or experiencing a strong contentment with her grandmother who seems to be passing on all of her island knowledge to her and teaching her how best to work and appreciate it.
The setting is very beautiful and serene with a lot of emphasis on the water, rocks, sunsets, and flowers. Also, very prominent, is the music score which features soft piano and violin chords and motifs which further emphasize the contemplative atmosphere of the film. At one point Grandmother and Sophia come upon another small island with a more contemporary home somewhat to the former’s dismay. Is this a sign of development and progress in a location which has been kept pretty pristine for decades?
This is not a film for those expecting a traditional or energetic storyline though. It’s the kind of film that is best to viewed when in the mood to sit back and let the sounds and sights of a setting envelope oneself. Given the turmoil that surrounds us today, there’s definitely a place for that.
The Summer Book opens in limited release today, including the Music Box Theater in Chicago.
FILM: THE SUMMER BOOK
DIRECTED BY: CHARLIE MCDOWELL
STARRING: GLENN CLOSE, EMILY MATTHEWS, ANDERS DANIELSEN LIE
RATING: 3 out of 4 stars
By Dan Pal
It’s hard for those of us awards geeks to not approach a new film starring Glenn Close and think about whether it’s the one to finally get her that Oscar which has eluded her for over forty years. In The Summer Book she gives another great performance that, with enough support behind it, could be that film. These days, however, it takes more than just a good role but a host of people and financial resources behind a project to get it to reach that ultimate Hollywood summit. This is a pretty small and quiet film, directed by Charlie McDowell and based on a 1972 book by Swedish-Finnish author Tove Jansson. It’s a lovely homage to a setting and person that obviously had a major effect on the writer. It’s about aging, memories, and passing the torch to a new generation.
When we first meet Close as Grandmother (we never learn her real name) she walks with a slump and walking stick. She has no makeup but rather years of age spots and freckles all over her face. She’s got a non-specific northern European accent and some difficulty breathing. Grandmother is arriving with her son (Anders Danielsen Lie) and his daughter Sophia (Emily Matthews) at a small island in the Gulf of Finland. It features a rocky shore and no other homes except for an old wooden shack which Grandmother has been coming to for 47 years. Clearly, she’s spent a lot of time there, even as some sort of girl’s troop leader back in the day. The film alludes to her younger life as something of a feminist and teacher.
Generally, we don’t learn a lot about the family other than that Sophia’s mother has passed away and her father seems to be some kind of illustrator. This lack of detail is one of the first signs that this is not a traditional narrative. There’s not much exposition and there aren’t any major dramatic swings to move the story to a heart-wrenching climax, except for maybe one storm.
Instead, McDowell seems interested in offering the sensory joys of being in such a remote setting. We often see Grandmother sitting on a large rock or laying on the ground taking in the sound of wind and waves. As she walks over moss or walks in the water we can almost feel it with her. She takes deep pleasure in the peace the island offers her. Even though we don’t get all the details, we know that she has memories there which bring a smile to her face. If anything, the script suggests the power of the senses to recall the past even if those memories are fleeting. Grandmother is not happy with aging and the passage of time but she has pleasurable moments in which she can viscerally feel her youth and previous life on the island.
While Father is not given much depth or many opportunities to express himself, we often get snippets of Sophia’s inner dialogue. At times, she is bored, angry, or experiencing a strong contentment with her grandmother who seems to be passing on all of her island knowledge to her and teaching her how best to work and appreciate it.
The setting is very beautiful and serene with a lot of emphasis on the water, rocks, sunsets, and flowers. Also, very prominent, is the music score which features soft piano and violin chords and motifs which further emphasize the contemplative atmosphere of the film. At one point Grandmother and Sophia come upon another small island with a more contemporary home somewhat to the former’s dismay. Is this a sign of development and progress in a location which has been kept pretty pristine for decades?
This is not a film for those expecting a traditional or energetic storyline though. It’s the kind of film that is best to viewed when in the mood to sit back and let the sounds and sights of a setting envelope oneself. Given the turmoil that surrounds us today, there’s definitely a place for that.
The Summer Book opens in limited release today, including the Music Box Theater in Chicago.