Like many successful partnerships, the Daniels didn’t get on initially. Discussed during a recent Scriptnotes podcast episode, Daniel Scheinert outlined first impressions: “I participated too much, he (Kwan) thought I was an asshole. He didn’t participate enough, I thought he was wasting his money at film school”. Once differences were put aside, they began collaborating on short films and music videos – most notably 2013’s Turn Down for What. Outlandish, over the top, and downright weird: these words have become a core part of their creative mission statement, and would result in the pair winning Best Director(s) for Everything Everywhere All at Once only ten years later.
Yet, in a cinematic landscape that has several multiverse pictures already, EEAAO’s concept is relatively normal compared to their feature debut Swiss Army Man. Paul Dano plays Hank Thompson, a man stranded on an island tying a makeshift noose around his neck, when a body is swept onto the shore. Shocked at this turn of events, he rushes forwards and accidentally hangs himself. You could theorise the story ends here, and the next ninety minutes is a hallucinogenic near-death experience rather than the rope breaking, but that would be too plausible. Instead, Hank discovers a farting corpse (Daniel Radcliffe) and rides him like a jetski to try and get back home. Yes, you read that correctly.
What follows is a smorgasbord of creative set pieces whilst Hank discovers the different skills this multi-purpose cadaver has. Dubbed as Manny, his body seemingly operates like a propulsion system, acting as a makeshift hosepipe, machine gun and grapple hook to aid survival. Radcliffe performed most of his own stunts barring the lethal or humanly impossible ones, but even then he would be involved with making the scene happen. There must have been quite a strong bond formed between Radcliffe and his stunt double because he toured the world with a Manny doll companion to promote Swiss Army Man.
Despite how talented the director pairing behind the camera is, I don’t think this film would have succeeded without the amazing pairing on-screen. Dano and Radcliffe were both child actors who rose to stardom fast, and have somehow managed to navigate fame safely since. Earning significant wages earlier on has given them freedom to choose riskier roles which they are then 100% committed to. Therefore, their amazing performances as Hank and Manny can encompass the wide range of toilet humour and dark jokes featured, as well as an underlying heartwarming theme.
Whereas EEAAO was centred around generational trauma and acceptance, The Daniels have expertly weaved a tale of loneliness and love into a cruder version of Cast Away. Alongside all of Manny’s talents, he’s also Hank’s last grasp on sanity – assuming that hadn’t already been lost. Asking hundreds of questions reveals previously strained relationships, and recreating memories presents a chance for therapy at the low cost of almost dying. Surely these types of films are only supposed to make you cry with laughter, nonetheless I am two for two on being emotionally manipulated.
Helping those feelings swell out is the catchiest soundtrack I’ve ever heard in cinema. Extracting dialogue from the Daniels’ script, another duo in Andy Hull and Robert McDowell of Manchester Orchestra produce what I can only describe as synthesised acapella beats. Giving a similar vibe to Fleet Foxes, its folksy charm adds to the handmade nature of Hank’s survival and the genuine loving odd-ball community pouring out of every facet of Swiss Army Man. This film won’t be for everyone, as those who walked out of its Sundance premiere can attest to, but there’s a strong possibility it’s my new favourite.
