RESTING PLACE is a fractured mix of two dramas. It begins as a very conventional American race drama, in which Georgia locals refuse to have a black Vietnam Lieutenant buried in their all-white cemetery. It then morphs into a military-set mystery as the circumstances of the Lieutenant's death are revealed to be suspicious.
This double narrative robs either story of the time needed to develop itself and makes the conclusion feel rushed and unsatisfying. Major characters, like the Lieutenant's parents (Morgan Freeman and C.C.H. Pounder), are abandoned for much of the film's running time. The split between the Georgia town and the local Army base ensures that neither comes alive.
The film begins with a degree of racial subtlety as the local authorities explain their reasons for opposing the burial. Having avoided the racial violence in the South of the late 1960's they don't want to move too far, too fast in this post-Civil Rights Era, for fear of causing it. For once these are concerned citizens, not hate-filled rednecks. The second narrative has promise too. The Lieutenant's death turns out to be the result of a mistake he made that killed some of his men and lost him the trust of his platoon. Consequently in their next firefight he leads but nobody follows, assuring his death. Unfortunately subtlety is thrown out the window as an unconvincing racial subtext is introduced and the Lieutenant's mistake is revealed to have really been made by his radioman (motivated by racism).
Handsome production values and some unusually restrained acting from John Lithgow fail to redeem the inability of the screenplay to combine its two stories.
This double narrative robs either story of the time needed to develop itself and makes the conclusion feel rushed and unsatisfying. Major characters, like the Lieutenant's parents (Morgan Freeman and C.C.H. Pounder), are abandoned for much of the film's running time. The split between the Georgia town and the local Army base ensures that neither comes alive.
The film begins with a degree of racial subtlety as the local authorities explain their reasons for opposing the burial. Having avoided the racial violence in the South of the late 1960's they don't want to move too far, too fast in this post-Civil Rights Era, for fear of causing it. For once these are concerned citizens, not hate-filled rednecks. The second narrative has promise too. The Lieutenant's death turns out to be the result of a mistake he made that killed some of his men and lost him the trust of his platoon. Consequently in their next firefight he leads but nobody follows, assuring his death. Unfortunately subtlety is thrown out the window as an unconvincing racial subtext is introduced and the Lieutenant's mistake is revealed to have really been made by his radioman (motivated by racism).
Handsome production values and some unusually restrained acting from John Lithgow fail to redeem the inability of the screenplay to combine its two stories.