Wonderstruck

Appropriately enough, it’s a definite feast for the senses, even if the charms of Wonderstruck are sometimes compromised by narrative aimlessness.

The latest from versatile director Todd Haynes (Carol) is a frequently charming adaptation of a novel by Brian Selznick (Hugo) that offers a wistful meditation on childhood innocence, the passage of time, and the bonds of creativity through generations.

The story is a fable that begins in Minnesota in 1977, when a young boy named Ben (Oakes Fegley) must deal with the death of his mother (Michelle Williams) by retreating to a rural cabin that evokes memories of better times. But that’s also where a lightning bolt renders him suddenly deaf.

Cut to suburban New Jersey, 50 years earlier, where Rose (Millicent Simmonds) is a hearing-impaired youngster who’s enthralled with silent movies, especially those featuring her favorite star (Julianne Moore).

Through their mutual love of places like bookstores and museums, Ben and Rose literally have an unspoken bond, the extent of which they won’t realize until much later. Moore returns in another role that crosses paths with Ben and another boy (Jaden Michael) with a compassion for outsiders.

The evocative film is meticulously detailed and visually striking, with cinematographer Ed Lachman capturing the 1920s in crisp black-and-white and the 1970s in enchanting amber hues. The lovely score by Carter Burwell also adds texture.

Selznick’s screenplay — with dialogue that’s naturally sparse — requires some suspension of disbelief for its concept, which meanders toward a muddled finale that feels more forced than genuine. The abrupt cuts between the parallel stories are initially awkward, before you learn the connection. However, the film eventually rewards patience for its deliberate pace.

Wonderstruck offers a heartfelt portrayal of the hearing-impaired experience — depicting both its challenges and the resilient ability to overcome them. That’s due in large part to the expressive performances of both precocious youngsters — newcomer Simmonds is deaf in real life, while Fegley (Pete’s Dragon) likewise signals a bright future.

Any film that features some exquisite dioramas and sprinkles David Bowie’s “Space Oddity” so prominently throughout the eclectic soundtrack can’t be all bad, right? Although it struggles to become something deeper and more profound, as the title might suggest, it scores according to its modest ambitions.

Rated PG, 117 minutes.