But the way the film honors those silences is its boldest stroke. It might seem thateditor Fine isn’t asking tough questions as he drives Wilson around Los Angeles and environs, and in conventional terms, he isn’t. There’s a gentle, therapeutic calm to Fine’s voice — no small thing for Wilson, an against-the-odds survivor and an artist with an uncommon connection to the auditory world. At one point he commends Fine’s “consistent way of talking.
The car they travel in is equipped with cameras but no privacy-invading cameraperson and, crucially, is loaded with MP3s of Wilson’s music; his selections on their outings form the film’s score . The tracks unwind, and the emotions play upon Wilson’s face. Sometimes the memories are painful, or simply too much — the abusive showbiz father; the deaths of his two bandmate brothers; the Svengali psychotherapist, Eugene Landy, who was hired to help him overcome his addictions and took over his life.
Working with 70 hours of these driving sequences — and, no doubt, long stretches without a word of conversation — the director and editors Hector Lopez and Kevin Klauber have crafted something compelling, ever attentive to Wilson’s moods, anxieties and joys, to the way he listens to the songs and to the way he answers Fine’s questions with a childlike simplicity. The locations themselves are anticlimactic, and in most cases Wilson chooses not to get out of the car.
A terrific 1964 clip of a backstage interview in Oklahoma captures the flush of that early success: Wilson is just 22, the Beach Boys already have seven top-10 hits to their name, and younger brother Dennis, the band’s heartthrob, flirts charmingly with the TV reporter. Brian’s bond with Dennis and youngest sibling Carl, both of whom died young, is one of the film’s elemental themes.
As that 57-year-old clip makes clear, the idea of Southern California that Beach Boys songs celebrated, a place of youth and cars and surfing, was exotic to the rest of the midcentury world. But pulsing beneath the sunshine, as producer
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