Once again an independent film shows that a good story, insightful directing and inspired acting can outperform the Hollywood giants with their $50 Million budgets. This film was produced for a scant $1.7 million and garnered five Oscar nominations including best picture. Writer/Director/Producer Todd Field, who has spent most of his career almost invisibly as an actor, explodes onto the scene on the other side of the camera and serves notice that he is a force to be reckoned with.
The story is powerful and poignant. It is the story of a family that is shattered by a horrible tragedy and it examines their ordeal as they come to terms with it. Field's workup is wonderfully done, giving care to assure that we understand and involve ourselves with these characters. It is a very likeable family, with down to earth people that come across like our closest friends. This makes their tragedy into our tragedy, so we easily identify with the shearing forces that shred their lives.
Field shows an extreme talent for bringing a stark realism to the screen. The characters are consistent with their development and exceedingly believable. The way he frames the shots and his choice of close-ups of inanimate objects is superb, heightening the feeling of being there. Having spent a good bit of time in New England myself, I noticed that the locations capture much of the feeling of the place. Even the sounds are more realistic than most films.
After the tragedy occurs, Field casts a suffocating pall over the film as he allows the humanness of his characters to dominate. Shock and denial are followed by seething resentment and blame. The characters are seen going robotically through the motions of their daily lives as they attempt to cope with the reality of the heartbreak that has befallen them. If there is one area where Field errs slightly, it may be here. He purposely dwells on these scenes to bring the audience to the same level of frustration and anguish as the characters, in an attempt to make us see that the final resolution is inevitable. However, his pace is overly torturous. The film bogs down and becomes repetitive during the second act, making the entire film seem much too long. However, this is more than compensated by the tense and evocative final act.
The acting is riveting. Tom Wilkinson, Sissy Spacek and Marisa Tomei were all nominated for Oscars. December seems to be a lucky month for birthdays in this film, since all four of the leads were born in that month (Wilkinson, 12/12, Spacek, 12/25, Tomei, 12/4 and Stahl, 12/5).
Wilkinson (`The Full Monty', `Shakespeare in Love', `The Patriot') emerges from the shadow of supporting roles with a compelling performance in the lead. His sincerity and believability endow his character with an amiable nature. His anger and grief is contained, yet while he appears impassive, it is clear that the emotional vortex runs deep. This is a breakout performance for Wilkinson and hopefully will portend larger roles in the future.
For Sissy Spacek, this is her sixth Oscar nomination. Throughout her career, Spacek has dependably belted out one commanding dramatic performance after another and this is no exception. This is a somewhat more emotionally repressed character than she usually plays, but she does it beautifully. When the dam finally breaks and she goes to pieces, it is one of the most intense scenes in the film.
Marisa Tomei may be one of the most underappreciated actors in film today. After her best supporting Oscar for `My Cousin Vinny', one would have expected more leading roles. They never came and she continued to deliver a parade of terrific supporting roles. Tomei is a very visceral actor, with great emotional range and the ability to make any character seem lovable. Here, as Natalie, she pours herself into a confused and broken girl trying desperately to put her life together after her breakup with an abusive husband. Her romantic scenes are touching and she has numerous heartrending scenes that punctuate the feelings that the other characters are suppressing. This is a richly textured performance that helps give the film its soul. Perhaps now, after 20 years in the business Tomei will finally be discovered.
Nick Stahl rounds out the main cast as son Frank Fowler. Stahl effectively captures the struggle of young adulthood, trying to manage complex adult situations with the inexperience and naiveté of youth. William Mapother does a fine job as Natalie's abusive husband. Mapother's resume is mostly comprised of bit parts in the films of his famous cousin Thomas Mapother (aka Tom Cruise) having appeared in five of them. However Mapother shows talent of his own in some intense scenes with Tomei and Stahl. I was impressed how he was able to switch from arrogant intimidation to meek pusillanimity in the final scene with Wilkinson. It is the perfect portrayal of the bully who is only strong in the face of those weaker than he.
This is a disturbing and powerful film that cuts your heart out and serves it up cold. There is a thunderhead of new and unheralded talent that converges to create an extraordinary independent film. Though Field is a bit heavy handed in the second act, everything else is near perfect. I rated it a 9/10. For lovers of drama and great acting this film is a must see.
The story is powerful and poignant. It is the story of a family that is shattered by a horrible tragedy and it examines their ordeal as they come to terms with it. Field's workup is wonderfully done, giving care to assure that we understand and involve ourselves with these characters. It is a very likeable family, with down to earth people that come across like our closest friends. This makes their tragedy into our tragedy, so we easily identify with the shearing forces that shred their lives.
Field shows an extreme talent for bringing a stark realism to the screen. The characters are consistent with their development and exceedingly believable. The way he frames the shots and his choice of close-ups of inanimate objects is superb, heightening the feeling of being there. Having spent a good bit of time in New England myself, I noticed that the locations capture much of the feeling of the place. Even the sounds are more realistic than most films.
After the tragedy occurs, Field casts a suffocating pall over the film as he allows the humanness of his characters to dominate. Shock and denial are followed by seething resentment and blame. The characters are seen going robotically through the motions of their daily lives as they attempt to cope with the reality of the heartbreak that has befallen them. If there is one area where Field errs slightly, it may be here. He purposely dwells on these scenes to bring the audience to the same level of frustration and anguish as the characters, in an attempt to make us see that the final resolution is inevitable. However, his pace is overly torturous. The film bogs down and becomes repetitive during the second act, making the entire film seem much too long. However, this is more than compensated by the tense and evocative final act.
The acting is riveting. Tom Wilkinson, Sissy Spacek and Marisa Tomei were all nominated for Oscars. December seems to be a lucky month for birthdays in this film, since all four of the leads were born in that month (Wilkinson, 12/12, Spacek, 12/25, Tomei, 12/4 and Stahl, 12/5).
Wilkinson (`The Full Monty', `Shakespeare in Love', `The Patriot') emerges from the shadow of supporting roles with a compelling performance in the lead. His sincerity and believability endow his character with an amiable nature. His anger and grief is contained, yet while he appears impassive, it is clear that the emotional vortex runs deep. This is a breakout performance for Wilkinson and hopefully will portend larger roles in the future.
For Sissy Spacek, this is her sixth Oscar nomination. Throughout her career, Spacek has dependably belted out one commanding dramatic performance after another and this is no exception. This is a somewhat more emotionally repressed character than she usually plays, but she does it beautifully. When the dam finally breaks and she goes to pieces, it is one of the most intense scenes in the film.
Marisa Tomei may be one of the most underappreciated actors in film today. After her best supporting Oscar for `My Cousin Vinny', one would have expected more leading roles. They never came and she continued to deliver a parade of terrific supporting roles. Tomei is a very visceral actor, with great emotional range and the ability to make any character seem lovable. Here, as Natalie, she pours herself into a confused and broken girl trying desperately to put her life together after her breakup with an abusive husband. Her romantic scenes are touching and she has numerous heartrending scenes that punctuate the feelings that the other characters are suppressing. This is a richly textured performance that helps give the film its soul. Perhaps now, after 20 years in the business Tomei will finally be discovered.
Nick Stahl rounds out the main cast as son Frank Fowler. Stahl effectively captures the struggle of young adulthood, trying to manage complex adult situations with the inexperience and naiveté of youth. William Mapother does a fine job as Natalie's abusive husband. Mapother's resume is mostly comprised of bit parts in the films of his famous cousin Thomas Mapother (aka Tom Cruise) having appeared in five of them. However Mapother shows talent of his own in some intense scenes with Tomei and Stahl. I was impressed how he was able to switch from arrogant intimidation to meek pusillanimity in the final scene with Wilkinson. It is the perfect portrayal of the bully who is only strong in the face of those weaker than he.
This is a disturbing and powerful film that cuts your heart out and serves it up cold. There is a thunderhead of new and unheralded talent that converges to create an extraordinary independent film. Though Field is a bit heavy handed in the second act, everything else is near perfect. I rated it a 9/10. For lovers of drama and great acting this film is a must see.