THE LAST SHIFT

US, 2020, 90 minutes, Colour.

Richard Jenkins, Shane Paul McGhie, da' Vine Joy Randolph, Ed O'Neill, Alison Tolman.

Directed by Andrew Cohn.

A small film about ordinary people, the common people, the taken-for-granted people, the forgotten people among the millions in the American population.

Perhaps, for this reason, so many of the comments and criticisms about the film say that it is boring, that nothing happens – ordinary characters and events that tend to be ignored or taken for granted. Yet, with strong performances, these characters come alive, in their very ordinariness, hopes and desires, disappointments, failures.

The main focus is on Stanley, yet another marvellous performance, a masterclass in acting, from Richard Jenkins (The Visitor,) the setting is Michigan, an independent diner which is just surviving, Stanley having worked there for 38 years, doing the same things, preparing the food, packaging the food, serving the customers. He is satisfied with his life although his main concern is his mother in a nursing home in Florida, his promise to do better for her, his plans to buy a secondhand car, finishes job and drive south.

The other character is Jevon (Shane Paul McGhie, reminding audiences of a young Will Smith). He has been a good student, writing a column in the school magazine, but getting tangled in petty crime, serving his sentence, out on parole, being supervised, advised to get a job and is applying for Stanley’s position, Stanley training him with the handbook that has the rules for the diner. Jevon stays with his mother, has a tense relationship with his girlfriend, not responding attentively to his baby son.

Stanley and Jevon begin to bond during the last shift, the night shift, talking, sharing their experiences, dealing with drunken customers, Jevon rather offhand, seeing his work is very temporary, not understanding how this has been Stanley’s life and commitment.

0, nothing seems to happen, the bonding between the two men seems boring to many audiences but, in the writing and the performances, there is a great deal of humanity to be appreciated.

Stanley’s life has been hard but he is taken that for granted, buoyed up by his friend Dale (Ed O’Neill). Stanley buys the car with the money he has saved, experiences an accident, confronts his brother, phone calls to his mother who is alcoholic in their past does not remember the phone calls. And, he is challenged by Jevon into something of self-the solution. And, race issues emerge, Stanley’s memory of the murder of a boy in 1971 at school (and this nagging at his conscience), discussions about being white in American society, the frustrations of being black.

Comments have also criticised the ending or, rather, the lack of an ending. Audiences who have appreciated the characterisations of Stanley and Jevon will be saddened at the developments, the break, the consequences for each of them. There may be hope for some kind of resolution but the audience is left with the taken-for granted lives, the pain, disappointments, uncertainties.

1. The title, the focus, Stanley, Jovan, bonding, yet the breaking of relationships?
2. Michigan, the town of Albion, the traditions, school, sports, the racial murder in 1971? Memories, the trial, quite injustice to African-Americans? The diner, the kitchen, the drive-in, the neighbouring supermarket, the alleys? Homes? Parole officers? On the Road, motels? The bus on the bus route? The musical score?
3. A film about ordinary people, taken-for-granted? The ignored people, their work and lives overlooked? Somebody response saying that this was boring, that nothing happened?
4. Stanley story, Richard Jenkins performance, age, limp, 38 years, doing the same thing, the cooking, the burgers and his finesse, the packaging, serving the customers? His belief in his work? The poor pay, his saving money, his mother in the home, unhappy memories of her alcoholic past, clashes with his brother? The phone calls, promising to move his mother to better conditions? Examining the car, going to the test drive, no license, the crash with the door, $500, the repair? His friendship with Dale, from school days, talking, bonding?
5. Oscars, the independent diner, on its last legs, the big chains? The supervisor, the accounts, employing Jovan? Her coming in, the theft, blaming Jovan, sacking him?
6. Jovan, the past, intelligent, writing, the school column, his relationship with his girlfriend, the birth of their baby? In prison, parole, the meetings with the parole officer? The conditions? The interviews on the requirements? Applying for the job at Oscars, getting it, at home with his mother, clashes with his girlfriend, ignoring the baby, going out to work every night?
7. At the job, meeting Oscar, the background with Fernando and his Latin American background, earning more in America? The manual, Stanley taking Jovan under his wing, to read the manual, sign the contract, the details of the work? Jovan and his minimalist approach to work? Stanley and his being conscientious?
8. Stanley, the conversations with Jovan, the complaint about the woman with the frozen burger? Stanley instructing, reminiscing about his life, 38 years, satisfied with his life? Jovan, urging him to think about it, some self-assertion – and Stanley later breaking out, angry? Cigarettes, Stanley the supermarket, the three men, challenge, interactions, the mugging, Stanley being robbed? His thinking that Jovan was behind it?
9. Dale, a good friend, their meetings and conversations? Memories of the past, Jovan asking about the murdered boy, memories of the case, Stanley hesitant, talking with Dale, wondering whether they should have spoken?
10. Jovan, Black, lack of opportunities, always under suspicion? Discussion about white and black with Stanley? Stanley reacting with some underlying racist tones? Jovan’s reaction?
11. Stanley, taking the money from the safe, letting Jovan take the blame? The car, going to the motel, the touch of luxury, the car not starting, returning the bus, meeting Dale, accommodation? Getting a new job? The talk about salary, the token final gift?
12. Jovan, coming to work, the supervisor not thinking that Stanley would be the thief, firing Jovan?
13. Jovan, at home, the girlfriend walking out, accusations that he was not interested in the boy? His mother? His being upset at being fired? The parole officer and her feeling oppressed, his outburst? Going to the library, the computer, starting to write?
14. Stanley, the bus stop, in the bus, Jovan and playing with his son and the book, Stanley getting out of the bus, his face, conscience? Jovan’s reaction?
15. The complaint that there was no ending – but the audience seeing each of the characters, the possibility for a resolution in the future, or not? The reality of life?