Film Review: Beyond the Sea (2004)
There is a peculiar category of cinema that commands respect rather than affection. These are films that are often driven by a singular obsession, where creators pour immense resources into realising a personal vision, frequently at the expense of commercial viability or critical polish. They are made because someone felt they had to be made, driven by a passion that transcends market logic. One such example can be found in Beyond the Sea, the 2004 musical biopic directed by and starring Kevin Spacey.
The film serves as a monumental labour of love for Spacey, who did not merely act in the lead role; he co-wrote the script and served as one of the producers. The subject matter is Bobby Darin (1936–1973), a musician whose career, despite its tragically short duration, left an indelible mark on the history of American pop music in the late 1950s and early 1960s. Darin was a figure of extraordinary duality—a novelty rock star who transitioned into a sophisticated purveyor of big band pop. Spacey adopts a framing device remarkably similar to De-Lovely, another music biopic released the same year. The film opens with Darin performing at the famous Copacabana night club in New York City, establishing a theatrical tone where the audience is aware they are watching a performance about a life. This is further reinforced by the interaction between the older, performing Darin (Spacey) and a much younger, backstage version of himself (William Ulrich).
The narrative chronicles Darin’s meteoric rise from an impoverished background in the Bronx. Haunted by rheumatic fever that permanently damaged his heart, Darin was a sickly child determined to outlive his prognosis and become a bigger star than Frank Sinatra. His big break came in 1958 with the novelty rock song "Splish Splash," which he co-wrote and turned into a massive hit, briefly making him a teen idol. Capitalising on this success, Darin pivoted toward big bands and traditional pop, securing major hits with his cover of "Mack the Knife" and the title track "Beyond the Sea." By 1961, with his acting career taking off due to his role in the romantic comedy Come September, he met Sandra Dee (Kate Bosworth) and ultimately married her. However, the film struggles to depict the complexity of this relationship; Darin found it difficult to balance his professional success with his marriage. The political landscape of the late 1960s saw Darin become interested in politics, notably supporting Robert F. Kennedy for the presidency. It is later revealed by his older sister, Nina Casotto (Caroline Aaron), that he was her son and actually adopted by his mother Polly (Brenda Blethyn), shattering his understanding of his identity. Following Kennedy's assassination, Darin retreated into a sort of recluse, failing to successfully reorient his career toward folk music and protest songs. He made a brief, gospel-influenced comeback in Las Vegas but ultimately succumbed to blood poisoning at the age of 37.
The production history of Beyond the Sea is almost as fascinating as the film itself. The project had a very long gestating period, with the idea of a Bobby Darin biopic being put into production as early as 1986. The film was initially supposed to be directed by Barry Levinson and written by renowned scriptwriters like Paul Attanasio and Paul Schrader, with Tom Cruise originally considered for the main part. However, a series of casting and financial problems led to the film rights being acquired by Kevin Spacey himself. He produced the film with the support of Dodd Darin, Bobby’s son, who served as a technical advisor.
Upon its release in late 2004, Beyond the Sea was generally savaged by critics, and for two main reasons. The first was a rather selective approach to Darin's life in the script. The film chose to overlook significant details, such as his eventual divorce from Sandra Dee and Dee's well-documented struggle with anorexia, presenting a sanitised version of a turbulent relationship.
However, the bigger, and perhaps more damning flaw, was Spacey’s insistence on playing the lead role despite being 44 years old at the time of production. This included playing scenes depicting Darin when he was only 22 years old. Even with the best prosthetic makeup available, the illusion was difficult to maintain, often jarring the viewer. Consequently, many critics viewed the film as a vanity project—a vehicle for Spacey to display his range as a singer and actor, but one that ultimately crumbled under the weight of its own hubris.
On the other hand, one cannot deny that Spacey invested genuine talent into the film. Beyond the acting, he displayed vocal prowess that was largely convincing. He took vocal lessons to master Darin's singing style and even promoted the film with a series of live performances of Darin's songs, which were greeted favourably by audiences who appreciated his dedication. Yet, despite these commendable efforts, the box office success ultimately eluded him. The result is a film that is, rightly or wrongly, seen as a misguided vanity project. It is a film of immense respect for its subject and the music, but it is ultimately a miscalculation of time and storytelling that prevents it from standing as a definitive portrait of Bobby Darin.
RATING: 4/10 (+)
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