Filmmakers screen ‘Watching Mr. Pearson’ at Zeitgeist | Film

In “Watching Mr. Pearson,” Robert Pearson, a wealthy actor well out of his prime, decides he hasn’t driven into town in too long, so he pulls his 1956 Porsche 356 Speedster out of the garage. Caroline, who he employs to help care for him, isn’t eager to get in the sporty convertible’s passenger seat, but she can’t let him drive alone. It’s a wilder ride than she wants.

Pearson looks distinguished with his white beard and still has some swagger about him, but mostly he reminisces about his glory days on the silver screen and spends his days at his beachside home. Caroline realizes that reading old scripts with him pulls him out of his increasingly quiet and distant shell.

The film is rich in cinema references and reverie, but it’s a portrait of a person coping with growing vulnerability and relying on others for help. “Watching Mr. Pearson” screens at 7 p.m. Saturday, May 16, and Sunday, May 17, at Zeitgeist Theatre & Lounge, and director Dillon Bentlage, screenwriter Simon Kincade and actress Dominika Zawada, who plays Caroline, will attend and participate in Q&As after screenings.

Pearson spends some of his time watching his old films. The movie opens with what looks like a classic black-and-white film noir, with a driver’s view of a car careening down a twisting highway while a trumpet sounds a moody and ominous note. In other films within the film, the much younger Pearson stars in dramas and action movies from different ages, including 1970s style political thrillers.

The character of Pearson was inspired by actors with long distinguished careers, like Paul Newman and Jack Nicholson. Newman famously had a vintage Porsche Speedster, and in his later years, he lived in Connecticut, where “Watching Mr. Pearson” was filmed.

Aging isn’t easy on anyone, and Pearson denies elements of it. After the drive into town, an old acquaintance mistakenly compliments him for dating the young and beautiful Caroline. Pearson doesn’t want to admit that she’s more like a traveling nurse and not a girlfriend, and Caroline’s feelings are hurt by the old men’s objectification.

While Pearson is fortunate to live well, he has no apparent connections to family, and many of his old friends are gone. Caroline sincerely cares for him, but he’s also her boss, and as an immigrant pursing legal status, having a job is important. Another assistant, Miguel, is attentive, but he secretly wants to be a screenwriter and has his own concerns. Pearson also has a financial advisor, and at times, he has no idea if he can trust her or his own memory.

In some scenes, Pearson argues with his much younger self, or with characters he played long ago. That exposes questions about what’s going on in his mind as he ages, sometimes gracefully and sometimes not. Some of his old ways pop entertaining surprises on his assistants.

Reviving Pearson’s old characters brings out his old strengths, and he jokingly chides Caroline for stepping on his lines or dramatic pauses. He’s much less sharp about the way the world has changed around him, and it leaves open the question of who’s really giving his life direction.

Hugo Armstrong is excellent as the older Pearson and looks the part of an aging legend. The veteran film and stage actor captures his alternating charm and vigor and confusion and anger. Polish actress Dominika Zawada also is excellent as Caroline, projecting a natural affection for Pearson. As young Pearson, Sam Bullington doesn’t look like a Hollywood leading man, but he’s strong in the scenes confronting the old man.

This is Bentlage’s directorial debut, and he’s worked on the TV series “Atlanta,” Steve McQueen’s “The Occupied City” and more. He is on a tour doing screenings and engaging audiences, and he’s doing outreach to spark discussions about aging and mental health.

For tickets and information, visit zeitgeistnola.org.