Beyond Grief: How One Dog Brings Comfort in Times of Sorrow

Sigrid Nunez’s novel ‘The Friend’ makes for an unlikely adaptation, despite receiving critical acclaim and an award. The film, directed by Scott McGehee and David Siegel, successfully reshapes the material for cinematic audiences while preserving its essence. This raw emotional component feels more immediate than the printed page allowed.

Naomi Watts steps into the central role of Iris, a reserved novelist residing in a cramped Manhattan apartment. Her routine existence turns upside down after her former teacher and mentor, Walter (Bill Murray), takes his own life. Not only did he leave behind three ex-wives, but he also bequeathed a massive Great Dane named Apollo (Bing). In his final instructions, Walter stipulates that Iris must care for this gentle, grieving canine.

Iris induces emotions in the viewer, reflecting their struggles by shifting the feelings of deep sadness, sorrow, and repentance to a lower level. One of the reasons for her internal conflict is her history with Walter, who used to be her confidant but later became an aloof figure whom she felt closer to but never really knew. The character of Apollo is a reflection of the multitude of emotions that Iris cannot express in the movie.

“The film version of The Friend adopts a more grounded, accessible tone that resonates with viewers on a universal level.”

The film version of ‘The Friend’ adopts a more grounded, accessible tone that resonates with viewers on a universal level. Though Iris remains a skilled novelist and a dedicated teacher of creative writing, the script refrains from delving too deeply into the literary musings or high-minded debates present in Sigrid Nunez’s original text. Instead, it centers on the loneliness brought by Walter’s death and the positive influence of the dog on Iris’s emotions.

In translating the story from page to screen, McGehee and Siegel balance the delicate task of preserving the text’s reflective core while removing barriers that might alienate casual viewers. The film trims such heady material to maintain narrative momentum. Rather than dwell on extended rumination, the directors insert small yet potent visual cues—like lingering shots of Iris’s cramped living space or Apollo’s hopeful expressions—that carry the novel’s introspective mood.

The casting process for Bing, who portrays the enormous Great Dane, was apparently extensive, and it pays off in a big way. His soulful gaze adds an uncanny quality to the character, making him the ideal foil to Naomi Watts’ depiction of Iris. The growing trust between dog and owner becomes a focal point of the film.

The film inserts a beautifully lit scene from the past, revealing the moment Walter first encounters Apollo. The atmosphere feels dreamlike, with golden sunlight flooding the screen as the pair connect in a manner that seems predestined. This somber undercurrent runs through these moments, reminding us that no one, not even the most cherished pet, will be here forever.

“The Friend is outstanding because it shows what our interconnections really are.”

The Friend is outstanding because it shows what our interconnections really are. It is a reminder that sooner or later, all of our loved ones will depart us, if not knowingly, then due to circumstances. Iris becomes aware of the situation where Apollo’s life will end. She is the one who has to face the truth that yet their companionship is fleeting.

In quietly acknowledging that pain, the film offers an unvarnished look at how relationships often shape who we become. Even as Iris struggles with her landlord’s rules and the emotional weight of Walter’s passing, she finds solace in the day-to-day moments spent with a dog who never asked for anything more than her presence. It is this devotion that ultimately transforms her outlook.

“The Friend offers a refreshing sort of kindness in a cinematic landscape frequently marked by irony and harsh twists.”

The Friend offers a refreshing sort of kindness in a cinematic landscape frequently marked by irony and harsh twists. McGehee and Siegel choose not to introduce cynicism or malice into the narrative, allowing Iris’s challenges to arise naturally from her circumstances rather than from cruel contrivances.