Mike Nichols’ Regarding Henry

I really love it when actors step outside their comfort zone and try something that they’re not traditionally known for, it’s a difficult and courageous thing to do. Harrison Ford is a square jawed, attractive, alpha type dude, from Han Solo to Rick Deckerd to Indiana Jones. Seeing him become utterly vulnerable for a film like Mike Nichols’ Regarding Henry is something wonderful and let’s you observe a quieter, gentler side of this iconic actor.

Ford is Henry here, a brash, egotistical slick lawyer who cons innocent clients out of their settlements to line the pockets of his firm, cheats on his wife (Annette Bening) and when asked to apologize to his daughter (Kamien Allen, sad eyed and soulful) for an outburst, manipulates the conversation to further blame her. One night he pops over to the convenience store and interrupts a robbery, after which the twitchy burglar (a very young John Leguizamo) shoots him twice. The wounds leave him fighting for his life and with permanent brain damage, re-learning how to speak, walk, eat and piece together his fragmented memories with the help of a kindly physical therapist (the great Bill Nunn in possibly his greatest performance).

This is the ultimate case of ‘my dad went out for a pack of smokes and never came back’ because in a sense he doesn’t. For his daughter the cruel, unsympathetic father she watched him become is now gone forever and in his place a man she doesn’t recognize but now relates to, cares for and in return gets love she never experienced before instead. Henry has all the faculties of a child or adolescent at first, forced to forge a new moral compass and and patch over the damage that he and his amoral boss (Donald Moffat, smarmy as ever) have wrought. Ford makes low key yet deeply affecting work of Henry, his eyes have a meditative observance and his voice a shaky, emotive timbre, qualities I find to be often wasted on hero roles without a ton of depth (see The Age Of Adaline for another terrific example of him being used properly). He actually gets to play a human here, one who goes through one of the most taxing experiences anyone could live through, and the colours Ford paints this performance with are something to see. This film gets ragged on and sure it can come across as a bit gloss, a bit ‘Heartstring Hollywood.’ That may be so in instances but at the core it really cares, truly examines this man and what makes him who he is, then slaps him with a factory reset and reimagines who he is all over again, and how he must reconcile with what came before. Great film in my opinion.

-Nate Hill

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