In the Bedroom

I really liked "In the Bedroom" the first time I saw it. It's a movie with a monster who does not look like a monster. I recently watched the ending and appreciated the craft of the entire crew, especially the director in the choices he made. For me the movie is not about the crimes committed or who are your friends when times are bad, rather it's about that little monster that we have inside of us that when given the chance will choose for us to be and do unthinkable things.

There are a lot movies that I've seen that never warrant a second look, much less a third or fourth. That's because the director has played all of his/her cards right up front. Once you seen the movie once there is nothing else to see. With "In the Bedroom" I noticed the quiet, there was no constant music theme interrupting my thoughts. I noticed the performances of Wilkinson, Spacek and Marisa Tomei.. The Tomei role intrigued me. I remembered her best as Lisa Bonet cocky room mate in the first season of TV sitcom "A Different World". I noticed the crabs and the town, how there seemed be no diversity.

My second look, had me pay closer attention to monster, played with perfection by Sissy Spacek. Even in her mid fifties Sissy Spacek is cute and we all had cute monsters in our life. Monsters are things that a far more relentless then we are. Monsters get what they want, with out ever compromising. They are unreasonable, like Javier Bardem in "No Country for Old Men" or Daniel Day-Lewis, in "There Will Be Blood". Movies where the monster wins leaves the audience dissatisfied, but will to go back and take another look. My most recent look got me paying attention to the scenery, how beautiful old towns, bay views, dense forest and sea ports are. That no matter how beautiful nature is, it is relentless and will get its way.

The use of sound in the film was interesting. Background noise was used to tell the story as much as as the filming angles. This gave the movie a compelling dimension of claustrophobia for the main characters as though everything was closing in on them.

The sound aspect perfected a sense of distraction or lack of concentration that many people may feel after a tragedy. Of course the obvious scene is where the Dr. Fowler is speaking to the DA. The focus of the camera captures the movement of the DA's mouth, then the jingling of the keys in the DA's pocket. Another not-so-obvious scene is when Dr. Fowler visits Natalie in the country store. The footsteps, the creaking of the floor boards, and the beeping noises from the cash register all create the sense that both Natalie and Dr. Fowler want to lash out at creators of those noises.

This movie was so well done, I felt as if I were an outsider, looking through someone's window. Then the tragedy occurs, we were treated to what probably would have happened after a crime of passion, the imprecision of the evidence, the lack of a witness, and the ability of the perpetrator to avoid prosecution. Mostly the movie is about acting. Sissy Spacek is amazing, so tightly wound and in control. Her somewhat passive husband becomes her foil until the fuse is lit. Then it all comes to a head. I can't imagine living through something like this where your allies become so worthless. There is a scene where the prosecuting attorney jingles his change and looks at his watch while spouting a bunch of meaningless jargon about justice. The father goes catatonic while this is happening. Things play out like they do in life; there are no winners and no losers.

Every once in awhile, a filmmaker comes along and adds a pitch-perfect sensibility to a compelling story, well-written script, and perfect cast. This has happened with In the Bedroom. Though I saw, and enjoyed, director Todd Field's 2nd feature, Little Children, when it came out a few years back, I was truly astounded by In the Bedroom.

At a time when Americans' tastes in films are getting more and more juvenile, In the Bedroom is that rare film; one aimed adults. The characters and story line is compelling, the shots kept simple, yet beautiful, and the feel of the film is as real as most you will see. In the Bedroom would fit in perfectly with the some of the films from golden age of the 70s film-making. Unfortunately, we are seeing this less and less of those types of films these days.

It is hard to find a false moment, whether in dialogue or behavior, in this film. It deals with circumstances that we hear about every day, yet is no less captivating because of it. We are not clobbered over the head with the moments we are meant to feel deeply, yet they are apparent and often devastating to watch. There is an old saying, "you know the truth when you see it", and that certainly applies to this film. There was a knot in my stomach the entire first 30 minutes of the film, as director Field slowly builds to something you know is inevitable, and almost can't bare to watch.

Excellent performances turned in by Spacek, Wilkinson, Tomei, as well as all the supporting players. Proof, once again, that actors often make some of the finest directors.

Ahh, January. Is there a better time of the year for us film-geeks? Everywhere you look, Oscar contenders, star-studded movies and stellar performances. The latest foray to the theatres was In the Bedroom, a drama about a family in rural Maine.

Relative newcomer Nick Stahl plays Frank Fowler, a young college-bound man who spends his last summer at home fishing and dating an older woman, Natalie Strout (a surprisingly good Marisa Tomei). The problem? Well, it turns out Natalie has two kids and an ex-husband who isn't too happy about this new relationship, which leads to increasingly violent confrontations between the two men. In itself, an interesting story with solid performances that probably could have carried the movie by itself.

The real strength of this film, however, is Sissy Spacek and Tom Wilkenson who play Frank's concerned parents, and how the events in their son's life affect them. You will hear lots of talk in the next few months about Spacek's performance and likely an Oscar is in her near future, but to me, it's just the choice of a sentimental favourite. Don't get me wrong; she does a wonderful job, but her screen time is quite limited in comparison to Tom Wilkinson and he, to be honest, steals the show.

In the first half hour of this film, I thought In the Bedroom was a decent movie, but nothing special, until Wilkinson took over, and from that point on dominated scene after scene in what I consider one of the strongest performances of the year. Without saying too much more about the plot of the movie, suffice it to say that Wilkinson takes you through the full range of emotions, and you can't help but be focused on the presence he exudes throughout.