The Rick-trospective: Before Sunset
In honor of the November 7 release of Paste Movies Editor Michael Dunaway’s documentary 21 Years: Richard Linklater (in which Paste is the media partner), we’re going through the indie master’s entire oeuvre in order, film by amazing film.
It doesn’t take much to green light a sequel—just a reasonable opening weekend gross coupled with better than toxic word of mouth—but that’s part of why the continuation to Richard Linklater’s Before Sunrise is so special. Seriously, how many quiet, dialogue heavy indies actually get, much less deserve, a second chapter? As a sequel to a celebrated arthouse picture from a celebrated arthouse director, Before Sunset is an unusual creature. As a sequel few people asked for or saw coming, it’s even more so. But these qualities distinguish the film as the quintessential installment of Linklater’s Before trilogy: in an industry of sequelized cash grabs, it’s the rare sequel that actually manages to not only justify its existence, but also outdo its predecessor.
Strange that Before Sunset should feel like such an achievement. Linklater is neither the first person in movie history to revisit past characters and develop them afresh, nor the first to make a part two that bests a part one. But the film feels nonetheless daring for being so damn unexpected. It’s predecessor, 1995’s Before Sunrise, isn’t exactly an open-and-shut case—there’s certainly room to expand on its central romance—but it doesn’t demand follow up, either, particularly given its position in Linklater’s body of work. Once 2004 rolled around, he’d seemingly moved on from Jesse and Celine to make a couple of comedy dramas (subUrbia, The Newton Boys), an animated existential treatise (Waking Life), and his most accessible, commercially successful picture to date (School of Rock). Nobody could be blamed for thinking he was done with his star-crossed lovers.
We know now, of course, that Linklater had been plotting a rejoinder to Jesse’s and Celine’s first meeting as soon as Sunrise wrapped. Along with Ethan Hawke and Julie Delpy, the other two members of his screenwriting cabal, he managed to cobble together the next phase of the characters’ lives in relative secret, a trick they would pull off again with 2013’s Before Midnight. Just try accusing Linklater of going back to the well with that context in mind. (Besides that, there isn’t a lot of money in chattering love stories shot against European backdrops.) Before Sunset isn’t an attempt at cashing in or Linklater’s declaration of creative bankruptcy; rather, it’s an honest example of long-form narrative woven into short form fabric.
Looking back in the rear view, much of what Linklater produced leading up to Sunset’s eventual release feels like busywork (if only just). They’re productions he could get behind in earnest as a filmmaker, particularly Waking Life, well intentioned joints accorded the same amount of care he puts into everything he invests himself in. But watching them today, there’s a pervasive sense that with each he’s just biding his time, waiting for an opportunity to explore what’s happened to Jesse and Celine after the passage of nearly a decade.