Dito Montiel delivers an engaging but measured set of performances from his cast in BOULEVARD, which follows Robin Williams’ Nolan Mack as he rediscovers himself in the twilight of middle age. With an adept supporting cast, this character driven story – which could easily have succumbed to its more clichéd elements – is helped along ably by Montiel’s direction and avoidance of dramatic histrionics.

Nolan is a milquetoast bank employee who seems inoffensively decent. Seemingly impotently disconnected from overt happiness, and in separate rooms and lives from his wife, Joy (Kathy Baker), Nolan seems to drift through existence in these opening scenes. He briefly lingers in a red light district, but drives on. Nolan has something he is repressing and holding back, that may give meaning back to the winter of his life. He befriends a male prostitute upon his return to the red light district, Leo (Robert Aguire), but what he wants from the young man is unclear. A confusing mix of paternal instincts and homosexual desire reverberates between the men.

Williams’ casting is an excellent choice, with him being an actor that must restrain himself at the best of times.

Robin Williams gives an excellent performance as Nolan, who comes across with a sort of gentle naivety and a sense of a repression so ingrained it has simply become who he is. In this regard, Williams’ casting is an excellent choice, with him being an actor that must restrain himself at the best of times. Kathy Baker is also superb as the other half of a relationship that, whilst undeniably loving, just doesn’t seem to fit. If anything she deserves a little more screen time, as the husband-wife dynamic of the story is a little more interesting than the more predictable relationship between Nolan and Leo.

There is a light humour permeating the script alongside the more meaningful moments, aided and abetted by the talented Bob Odenkirk playing Nolan’s college professor friend – a superficial friendship that seems to skirt around issues of the self.

Montiel’s direction also ably demonstrates Nolan’s state of mind. As Nolan drifts around his shared home with Joy, so does Montiel. It’s almost as if his camera is sleepwalking, much as Nolan seems to be through life. Always framing Nolan from about middle distance, he often seems isolated. Only when personal revelatory moments come do we engage close up with Williams’ sadly expressive face – we finally get a glimpse of the man himself.

…the husband-wife dynamic of the story is a little more interesting than the more predictable relationship between Nolan and Leo.

The actors are also enough to bounce off each other in the dramatic moments. Nolan attempting to help Leo during a confrontation with his pimp is paced well, and when the tension between husband and wife finally comes to the boil Baker and Williams spark off each other with aplomb.

Robert Aguire has less to do as Leo, but his hesitant confusion at Nolan’s intentions is crucial to mirroring Nolan’s own hesitant confusion as he slowly unlocks doors in his psyche he threw away the keys to years ago.

A melancholically uplifting conclusion, BOULEVARD is at pains to show one can begin a new life when it seems too late, but not in an idealistic way. The character acting would be little without Montiel weaving in the visual expression he does to circumvent some narrative clichés, and fortunately they combine to good effect in this gently engrossing film.