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LETTING GO
Produced and Shot by Joe Masucci
Directed, Written, and Edited by Dan MasucciDad - Thom Adams
Nick - Nicholas MasucciFilmmaking brothers Joe and Dan Masucci have come a long way since their X-Files tribute, X-FILES: GRACELAND, was ranked the most downloaded spoof on iFilms roughly half a decade ago (iFilms pulled their parody category shortly thereafter so the title still stands). Their films since then have grown less gimmicky and more emotionally fueled, but have never really felt personal. To me, their work to date has always felt like a reflection of their interests as cinema viewers and not necessarily a reflection of personal artistic vision.
With LETTING GO, writer-director Dan Masucci draws upon his own experiences regarding fatherhood and spins a sentimental yarn about a young boy coming to terms with his security blanket. Easily Dan's most personal film, if not his most accomplished (the polish the Masucci's placed on the feature length version of THE LAST ROUND is a benchmark of no-budget storytelling), LETTING GO touches upon emotions common to many father-son relationships.
Young Nicholas decides that he's now too old for "blanky." With double digits looming over his next birthday, and the kids at school having put their blankies away, Nick is ready to grow up. But Nick is not the one "letting go," it's his father who must come to terms with how short and precious time can be. Sometimes it's hard for parents to accept the realization that their children won't always need them; that little boys grow up and become big boys, and eventually men.
Originally shot for Mark Burnett and Steven Spielberg's dismal ON THE LOT, LETTING GO shows an economy that I've never noticed in a prior Masucci production. Every scene is a different emotion detailing most of the various stages of loss: denial, bargaining, despair, and acceptance. The dialogue is lean without being forced to the point. This sort of material could easily have become sickly sweet if dwelled upon. The result is a far better example of craftsmanship then what I've seen on that lifeless reality show.
Personal vision is what separates artists from filmmakers. As filmmakers, Dan Masucci has always been technically proficient. By sharing his own story of letting go of his child's youth and accepting his independence, Dan blossoms into an artist willing to explore his emotions and share them with the world. He presents a view of fatherhood that seems all too absent in contemporary cinema - one of complete love. It's this all-encompassing love that makes every advancement towards adulthood the child takes feel almost death-like. The old child is gone, the one we fell in love with... meet the new child.
There's a certain level of cynicism in that sort of worldview. It isn't a bitter cynicism, but rather one that's matter-of-fact. It comes from experience and acceptance. Children will indeed grow up and rely on us less and less. It's both painful and endearing. Dan Masucci presents these emotions as honestly as he can. It's what a true artist does.