After seven months of silence regarding the investigation into her daughter’s brutal murder, Mildred Hayes (Frances McDormand) rents three billboards alongside a road on the outskirts of the small, southern town of Ebbing, Missouri. The signs chastise police Chier William Willoughby (Woody Harrelson) and draw the ire of most of the town, most notably Officer Jason Dixon (Sam Rockwell). Mildred works to stay strong and undeterred in the face of overwhelming pressure.
Wikipedia defines “The Great American Novel” thusly:
“The idea of the “Great American Novel” is the concept of a novel of high literary merit which shows the culture of the United States at a specific time in the country’s history. The novel is presumably written by an American author who is knowledgeable about the state, culture, and perspective of the common American citizen. Said author uses the literary work to identify and exhibit the language used by the American people of the time and to capture the unique American experience, especially as it is perceived for the time.”
While watching Three Billboards Outside Ebbing, Missouri, it struck me that I was watching a modern, cinematic version of The Great American Novel. The film manages to touch upon a multitude of cultural issues and problems of the moment within one story; police brutality, sexual crimes, racism, religious hypocrisy, domestic abuse, loneliness, and depression. The main story of Mildred’s struggle against police indifference to her daughter’s rape and murder couldn’t come at a more relevant time, as problems such as rape kit backlogs and the treatment of women in our society are at the forefront of our national politics and daily water cooler conversations. The character arc of Officer Dixon not only touches on the current cultural conversation regarding policing, but it also serves as an examination of another pertinent sociological issue; the disillusionment felt by low-skilled, under-educated white males in America. Dixon’s simmering internal discord over his life’s lot and his future prospects manifested themselves in his anger toward everyone else, particularly those who he viewed as “other,” whether they be blacks or homosexuals. In the wake of Donald Trump’s election in 2016, the media has made a concerted effort to understand this demographic and its plight, writing numerous articles to understand why they feel how they do and how that it is currently manifesting itself in our country. This film, however, delved into the subject and displayed what ills these types better than the dozens of New York Times articles we’ve gotten.
As the film goes on, what struck me is that both Mildred and Officer Dixon lashed out and were abrasive due to a yearning to be heard and appreciated. As our world has become more interconnected through rising technology, people feel more alone than ever. This dichotomy causes people to suffer in silence and cope through lashing out. As the film moves on, Mildred and Officer Dixon eventually find comfort in each other as they find they’re the only ones that recognize the pain that each feels and know how to alleviate said feeling.
McDormand shines in the lead role and is worthy of all the buzz she received coming out of the festival circuit and heading into awards season. She is able to deftly switch between a determined, fierce mother fighting for her daughter’s memory, to a vulnerable woman still hurting from past trauma and unsure if she will be able to see her plan for justice through. Although a supporting character, the film feels as if it’s as much Rockwell’s as McDormand’s. And he acts just as ably, fully conveying how detestable and inept Dixon is while redeeming him as much as is possible once his fall occurs. Harrelson also turns in another quality performance on the year as Willoughby a family man battling tragedy as he tries to wrestle with the pressure brought upon him by Mildred.
While Three Billboards started off incredibly strongly, I did feel that it took slightly too long to wrap up, causing a lot of the momentum it built to slow up a little bit. The time it takes for the resolution to come felt a little delayed and it added an unnecessary, avoidable flaw to the movie. Dixon’s change following a traumatic incident and the undeserved kindness he received worked for me although it seems to not have for many viewers. Are such corrupt and inept police officers able to be redeemed? It’s a tough question in reality but in this film, I felt it was earned and explainable for the issue it seemed to be exploring. Still, if some feel that the film is a little too lenient on a character that doesn’t deserve it, I can’t argue too much.
Three Billboards Outside Ebbing, Missouri is a film that is able to juggle a multitude of weighty, prescient topics in a way that keeps viewers engrossed and into the film. While the dragging out of the film’s conclusion does prevent it from maintaining the lofty heights it flew at for most of the film, what the movie examines and successfully it does this allows it to overcome the loss of momentum and remain one of the year’s best.
Image: Fox Searchlight
