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This film is a must-see for anyone who has witnessed or is dealing with emotional incest. Lewis portrays Jack, a single father who has lived on an island in isolation with his daughter until his new girlfriend comes to move in. Up until the girlfriend's arrival, Jack and his daughter Rose have lived in isolation on an island compound.

After the girlfriend's arrival, Rose's jealousy grows, and she tries to take the girlfriend's place. In an effort to to marginalize the girlfriend, Rose takes up a new-found interest in sexuality, thinking that must be what her father wants and is getting from the girlfriend.

It's obvious to anyone watching that Jack loves his daughter, and in many ways has been a wonderful father to her. The problem is not that he does not love her, or that he loves her too much. The problem is that he's loved her in the wrong way. He allowed Rose to fill the void left by her mother. He elevated Rose to the position of spouse. Jack realizes this, and sets out to undo the damage.

The movie also deals with the dreams of reconciliation children of divorce have. Rose displays all the postcards her mother sends on a wall in the house and tells the new girlfriend that "one day she's coming back."

I always find Daniel Day-Lewis's characters engaging, and Jack is no different. He's a brilliant and eccentric man who is conflicted by the desire to love and protect his daughter, and the desire to prepare her to be an independent woman. He has the clarity to recognize his foibles, and his bumbling efforts to set things straight bring compassion to human frailty.

This film disappeared locally right after its theatrical debut, so when IFC showed it recently, we rushed to catch up with it. Having admired its director, Rebecca Miller in all her films, we were right in seeing it in the wide screen of the main theater because that seems to be the perfect way to watch this intimate picture.

Ms. Miller takes us to an island off the coast of the continental mainland to set her story. As the film opens we watch Jack Flavin with his teen age daughter as they are perched on the roof of their strange cabin with the roof being made of lawn grass. They are father and daughter who have stayed in the land where years ago, had been a commune. We don't know what happened to Rose's mother, and nothing is clarified. We gather Jack and Rose have a special bond that at times border in incest.

Jack believes in keeping the island the way it is; development is coming fast and furious in the way of luxury homes being built in what probably will be a gated community where people of the same background and financial means will live, in sharp contrast as the commune idea that attracted Jack to the place. Jack, having inherited money from his father is financially secure, but still lives in a primitive way in a basic type of life. We see Jack as he takes pills; we realize he is not a well man.

When Jack takes a side trip to the mainland, he visits Kathleen, a single mother with two teen aged sons. Jack convinces her to come to live with him at the island. What Jack doesn't count is on Rose's reaction to the invasion to her space. In fact, the hatred for the invaders is instant. Katheleen, a kind woman herself, tries to reach Rose without any success. Rodney, one of the sons, has a weight problem, and has studied to be a hairdresser. Thaddius, is the rebel, who has an eye on the beautiful Rose.

Jack's basic intention for bringing Kathleen is to help him during his last days because he senses his days are numbered. When Thaddius suffers an accident, Kathleen takes the opportunity to go back home, leaving Jack and Rose to fend for themselves.

Ms. Miller takes an elegiac look at the situation making Jack into an almost Shakespearean character, that is, bigger than life. Jack is lovingly photographed in his many moods. The beautiful Rose's face shows all the emotions going on inside her. The director ought to be congratulated for involving us in the film and making us care for what will happen to Jack and Rose.

Daniel Day-Lewis is an actor who doesn't work much these days and that is our loss! As Jack, Mr. Day-Lewis has the rare opportunity to show his vulnerability and seems to be naked in front of our eyes because he doesn't hide the emotions from us. We know at any given moment what this man is thinking and what makes him tick. Mr. Day-Lewis gives a fabulous performance as he dominates the picture completely.

Camilla Belle is Rose. This young actress proves he is up to the task the director demands of her character. Not only is she beautiful, but she clearly exudes an innate intelligence that pays off in her portrayal of the girl who sees her world fall apart and has no way to stop what is killing her father.

Catherine Keener makes a valuable contribution to the film as Kathleen. She clearly is a gentle soul who is in love with Jack and wants to stay with him until the end. That is not meant to be because Jack realizes that in "importing" her to the island she gets in the way of the perfect balance between father and daughter.

Ryan McDonald makes the confused Rodney come alive. This young actor is a natural. The rest of the cast include minor appearances by Beau Bridges, Jason Lee, Jena Malone and Paul Dano, who plays Thaddius the other son.

"The Ballad of Jack and Rose" is clearly not for a wide audience because it's too intelligent to get a broader distribution, but the fans of Rebecca Miller will always cherish this film for what she brought to it and for the magnificent performances she got from her cast. The film is beautifully photographed Ellen Kuras and has an interesting score by Michael Rohatyn.

Loved the movie. The beautiful story went well with the picturesque setting in our smallest Canadian province on the east coast, Prince Edward Island, where the movie was filmed. Daniel Day Lewis was great. I wonder, did he have to lose a lot of weight to play the part? Ryan MacDonald did an excellent job and gave the movie some comedic relief. It brought back memories of the good old commune days! Maybe a return to those days might do our world some good. Beau Bridges gave a good performance as well but the sweet innocence of Rose was really the essence of the movie. You could feel the love connection between her and her father, be it father/daughter love or the love felt between lovers.

Any film starring the Daniel Day Lewis is a pretty safe bet. Although indisputably sexy, he grabs the roles which once were only for 'character actors', which in Hollywood meant past the best, not-bland, kooky, or downright ugly. This time, he's an ageing hippy from Motherwell (judging by his impeccable accent), living on in an abandoned commune with Rose, his daughter (Camilla Belle) who has been so well kept away from the corrupting influences of the outside world that she behaves like his clone, or sister, or lover. Nothing lasts for ever, and here it's Jack's failing health and Rose's growing up that threaten the status quo. Jack's attempt to patch up his way of life which is falling apart like the commune house itself, means importing his actual lover, who brings her two sons. Awkwardly for Jack, all these people have their own lives and aspirations, which is something he will have become unaccustomed to on his little island, and the clash leads everyone in directions none of them expected. A further complication is the building of a dinky housing estate which Jack's terrorist policies cannot halt, and again, the man responsible for this inroad from the modern world turns out to be a human, too. The story raises lots of questions about freedom and responsibility; not least through the fact that Jack can only live his pure, undefiled life because of inherited money. The plot is full of surprises and so are the cast, negotiating a multi-layered web of intrigue with as much delicacy as strength. Rebecca Miller clearly is a writer of singular imagination, and if this, her third film (although she started acting on-screen in 1988) is the way she intends to keep directing, then that's just fine. CLIFF HANLEY

Rose lives all alone on an island with her ailing hippie father. She worships him and has incestuous feelings for him. He is still clinging to the dream that the island will remain a paradise away from the rigours of the modern world. However property developers are threatening to move in.

It is refreshing to see a story of incest told from a female's perspective. However Rose remains unknowable throughout most of the movie - but then, in essence, so do the other characters, with vague and baffling dialogue. In the second half there are sudden developments that seem too convenient to do away with characters who leave the movie spread far too thin across the remaining characters and remaining runtime. The ending also seemed a bit too neat and tidy for the challenging issues the movie has raised.

"Ballad of Jack and Rose" almost works as it examines the pitfalls of extreme idealism.

Writer/director Rebecca Miller sets up an archetypal situation, of an isolated Utopian who thinks he can create and control a perfect living environment with his daughter.

Daniel Day Lewis makes him too sympathetic, particularly his Pyrrhic politics, while his character's nemeses are too simplistic, even as he finally is defeated by mortality and human nature, or perhaps what some theologians would consider original sin. Lewis as the dad is even more creepily naive than J. M. Barrie in "Finding Neverland" in wanting innocent children to never grow up, even while indulging his own adult needs.

As with "Personal Velocity," Miller well captures conversational dialog within broken families, particularly across genders, and she is uncannily good at giving us young and older teens, as puberty is presented here as a palpable enemy.

Beau Bridges's good old boy developer is an overly stereotyped builder of ticky tacky McMansions; it would have been more interesting if he was threatening the wetlands with solar powered, energy recycling houses.

The continuing image of poisonous snakes is a bit heavy-handed symbolism of women as the cause for the fall of Eden. While Miller in a Q & A at a showing at the Landmark Sunshine Theater in NYC said she was inspired by the Gnostic Gospels, I saw ironic parallels with Lot's daughters, who coming from Sodom and Gomorrah have much in common with this daughter of a failed commune. Camilla Belle is excellent as a girl who gradually, albeit a bit scarily, discovers her powers, and her male counterparts are very believable as kids with their own problems.

Most of the audience was disquietingly dissatisfied with the ending and coda of the film, so much of the questioning to Miller focused on those aspects, as she claimed they were not after-thoughts or revisions. But the writing and characterizations shown did not support the changes she claimed the characters had gone through to justify the denouement.

An interesting comparison can be made with "Off the Map" which also views an alternative life style through the eyes of a budding teen age girl, but whose family is held together by an earth mother.

The Dylan and other singer-songwriter selections on the soundtrack are very effective.

After not seeing much from Daniel Day-Lewis for a while, I was excited to see this film, though I was afraid it may not live up to what we expect from him. It was far better than I could have hoped, due not only to a terrific cast, but Rebecca Miller's writing and directing. The moments of humour ring with truth, and the characters have been developed so well, you feel voyeuristic. Daniel Day-Lewis is, as always, brilliant. The internal struggles his character goes through are poignant and completely believable. In fact, all of the characters in this story are a wonderfully realistic blend of black and white - all have virtues and all are flawed. Very thought-provoking and evocative. Visually beautiful, as well. This is a very underrated film and deserves far more recognition than it seems to have received.

I watched this movie and thought it was a waste of time. Although the characters are somewhat developed well, I thought I was watching mentally ill people who needed psychiatric help. I wasn't sure if there was suppose to be a hidden meaning to the movie or not, but I sure didn't get it. The entire plot line was a little "out there". The best acting came from the the two boys playing the sons of the girlfriend. Some of the scenery was exquisite and I did like the clothes that the characters wore, but other than these few good things I feel the movie is a waste. If you enjoy slow paced, boring movies this may be just what you are looking for.

Despite the film only costing about $1.5 million to make (which is cheap considering it's a Daniel Day Lewis film), "The Ballad of Jack and Rose" managed to make back only about half that worldwide in theaters. Perhaps the studio didn't trust the movie enough to give it widespread distribution...perhaps audiences just didn't like it. Regardless, it turns out to be one of Daniel Day Lewis' least seen movies. And, after seeing it, I think I have some ideas why it wasn't a success.

The story is set in the 1980s. Back in 1968, Jack (Lewis) joined a commune along with his wife. Over the years, everyone, including his wife, has left and it's just been Jack there alone to raise his daughter, Rosie. As a result, they have lived a very isolated life on this island and this is now a serious problem as Jack is sick and doesn't expect to live a lot longer...and Rosie has no real knowledge or experience of the world to make it alone. So, he decides to try to make an instant family--bringing a girlfriend and her two grown boys to their home....even though Rosie has never met any of them. Not surprisingly, it's all a giant mess...and the new blended family is about as unsuccessful and unpredictable as it could be.

The underlying theme seems very Freudian. In so many ways, the old 'Electra Complex' idea comes through with this film. In other words, the father and daughter are so close that it's unnatural and there seems to be some sort of pseudosexual chemistry going on between them. It's icky...and probably made audiences feel uncomfortable. In addition, it's very hard to like the folks in the film (the possible exception being the son who wants to be a hair dresser). All of them are desperately screwed up and greatly in need of therapy...especially Rosie. And, audiences and the studio apparently realized that such a group of misfits make for very difficult viewing....especially since they are mostly unlikable folks. It also didn't help that Jack's character didn't make a lot of sense....a man made up of very few consistent values, resulting in a man who is a complete enigma.

Overall, a mostly unpleasant film about some messed up folks that leaves you a bit creeped out and DEFINITELY ill at ease...particularly as the film progresses. I don't want to spoil the film...but creepy it DEFINITELY is.

I'm an Indy film addict, and was iffy about watching this one because of the description above, but on a whim i bought it and watched it and fell in love. The story of Jack and Rose is told so beautifully and perfectly that as the story progressed I found myself hoping that something would change, or hoping for some plot twist saying that rose wasn't his daughter, because I truly wanted these two to work out. The devotion between father and daughter is amazingly portrayed, Daniel Day-Lewis was perfect and I cannot imagine anyone else in this movie. Once i finished watching for the first time I found myself almost in a daze, the progression of Rose's whole being was a delicate matter that was handled beautifully. There was a feeling of tension throughout that drew me in. I have never fallen in love with a movie like this before. Bravo to the writer and cast and all involved. Thank you for this beautiful film about love, loss and culture change.

The acting is terrific, of course, with Daniel Day-Lewis and Catherine Keener headlining here, but the script is just all over the place and never has a real clear direction in where it's going. The beginning grabbed me and I felt like this was going to be a touching story, but as soon as Kathleen and her two sons came to move in with Jack and Rose, everything fell apart. As I said before, the acting is wonderful, the direction is smooth, and the dialogue is good, but I simply couldn't help but wonder why the film went in the direction it went. It seems that we are supposed to feel sympathetic for these characters, but both Jack and Rose are simply irrational and much too isolated for their own good. It starts well, but as a whole, this film spirals off into a world of confusion.

Honestly such a terrible movie i couldn't keep watching, paul dano was the only reason i wanted to watch this, i didn't understand anything at all and the father daughter relationship seemed really weird and like things were so out of the blue i cant seem to enjoy it.

Even though I didn't entirely believe him in this role, he's such an outstanding actor that it held my attention.

This film is clearly an 'indy' film, and has many wonderful qualities. The photography, some of the acting, the scenery. Unfortunately, the script I found cloying and weak and entirely unbelievable, it sidestepped the creepy incestuous moments that it evoked, and felt a little like watching a scene from a writers workshop at times.

That being said- Daniel Day Lewis. He makes it all worthwhile.

It's worth a rent, and I do look forward to whatever Ms. Miller does next, and I hope she has a long career. It's wonderful to find a woman filmmaker who is willing to explore difficult themes, I just wish this film had been better.

It's 1986. Jack Slavin (Daniel Day-Lewis) and his young daughter Rose (Camilla Belle) live in blissful isolation on a former island commune off the east coast. They defend ferociously the local wetland against land developer neighbor Marty Rance (Beau Bridges). He invites Kathleen (Catherine Keener) to live with them and she brings along her sons, Rodney (Ryan McDonald) and Thaddius (Paul Dano). Rose is immediately jealous and tries unsuccessfully to seduce Rodney. Red Berry (Jena Malone) arrives bringing candy for Rodney and sex for Thaddius.

The opening act confused me with a seemingly disturbing Jack and Rose relationship. It doesn't help that Rose acts like a jealous lover. It turns into an interesting sexual coming-of-age story for Rose as she tries to seduce the new men in her life. Then the last act leaves Jack and Rose back as a weird awkward couple. It's slightly off-putting. The whole movie is filled with interesting performers and slightly off-putting. It's not fulfilling but it does have some interesting bits and pieces.

We enter "The Ballad of Jack and Rose" at a critical moment when the father-daughter bond has become too threateningly like a marriage--at least to Jack, for whom expressions of unconditional love are unhinging. So he acts pronto and unilaterally and invites an ex-partner and her two sons to join them in their solitary island home. But this chess move is not about Jack's failing father concern, nor is it about even a remote chance of incest. What he actually dreads is a commitment to his sixteen year old daughter as an equal. By shaking up the family household, he can now play Rose's father, and play Kathleen's husband/lover, while Rose gets to enact his newly ordained daughter. Thus, no more of her strange passionate mix of child and adult, no more of her confidant expectations, and no more of motherless rearing. He tells his daughter: "Just an experiment, Rosie."

The Jack-Rose affinity isn't merely an outcome of their off the grid, home-schooling, and place propinquity. Jack has an appeal, a certain male prowess, an assertiveness, a skillfulness associated with commune leadership, which his daughter both notes and draws on. Both have an outdoors allure: as if belonging to plants, fields, sky, rain and rocks. Her little house is up in a tree; his is down on the ground. Both are dreamers and obviously in touch with the silence and the solitude. They share stances on environmental issues, technology, land development, and mass media (no radio, no TV,). Rose loves him because of his charisma and because she knows he needs her--given his shortened life span which he's damned resigned to (heart problems). To her, for whom family and career are irrelevant, these are end times, and she and her father share an inseparable and singular relationship.

So, Jack's attempt to impose the norm on Rose can only be disastrous. She starts the fireworks off by grabbing her rifle and firing a shot above Jack and Kathleen's bed. No joke, she avows. Then she throws her virgin's body into the ring, but apart from the brazenly libertine son Thad, she finds all the other males in and around the "commune," grasp the concept of boundaries. Rodney, the other son asks Rose "Who are you people?" "This (sex) stuff is not funny; it's tragic." When Jack gets wind of Thad's theft (his second move on Rose was attempted rape) he assaults him and shoves him out of the tree house, breaking several of his limbs. There's more disarray to come, but soon Jack tells Kathleen--who under the pressure of this ordeal, believes she herself has become a monster, and has been told by Jack to "shut your bloody mouth" for questioning Rose's upbringing--that she has to leave.

Jack's termination of the experiment, however, hardly equates to paradise regained. Indirection now rules, and Rose's declaration of happiness, as well as her vulgar kiss, which Jack recoils from, are performative acts. What's been lost are real selves. What's been defaced is a relationship and the lived experience on the island, which now has become a kind of gloomy niche. So the scenes that follow are pocked by the delirium of imminent death, destruction, and surrender. I guess the ballad of Jack and Rose is supposed to be romantic and tragic, but more to the point it's about Jack's lack of aversion to his own sense of power, as he confers unreality on Rose and erotic use on Kathleen. Having lost touch with Rose, and himself, he's left with weariness and cynicism: "Everything is for sale." "This is my life."

This is a powerful and affecting film. I have a few quibbles about Ms. Miller's use of the camera and her editing, especially in the beginning as there were too many jerky cuts/unnecessary camera movements which were quite distracting. Thankfully they diminished as the film progressed.

Camilla Belle's as Rose performance was surprisingly nuanced and rich for such a young actress, she didn't have one false note and was totally believable as this "feral," innocent, yet disturbed teen. All the supporting actors were excellent, the characterizations and dialogue engaging and true and the emotional unraveling harrowing.

Day-Lewis' performance as Jack Slavin was outstanding. It hits you with such power that it left me flattened. While the credits ran I had to close my gaping jaw, peel myself off the movie chair and stumble up the aisle trying to absorb it all. Moment by moment he communicated paragraphs of information about Jack's multi-layered internal complexities with complete mastery and subtlety. The man's our finest film actor, period.

This movie has an original voice, it doesn't pander and despite some visual clichés, it follows its own unique internal logic. Definitely worth seeing, especially for the performances of Day-Lewis and Camilla Belle.

My pick for male Oscar winner so far this year is Daniel Day-Lewis as an eccentric father of a precocious girl in The Ballad of Jack and Rose.

I don't think the bard suggested incest on the menu for Prospero and Miranda, but in this ballad dad and daughter alone on a remote peninsula off the East coast are not fighting just real estate developers and dad's lovers, they are dealing with incestuous feelings so subtly relayed that even our delicately Christian president might not be offended.

I have five beautiful daughters in the healthiest of relationships, but that a man alone with a bright, loving, free-spirited daughter could go to the dark side is the genius of this parable about the difficulties of living outside societal norms, which sometimes are fortunately restrictive of baser instincts.

Day-Lewis's conflicted protagonist is a marvelous piece of acting, the best of his career, and the most interesting this year.

Within the first five minutes of the film Jack (Daniel Day-Lewis), announces, tendentiously, to his daughter, Rose (Camilla Belle), a major theme of the film. Immediately, we are alerted not to expect subtlety here. Shortly thereafter, Rose runs dramatically to her refuge in the woods following her father's attempt to discuss his state of health, and we know director/screenwriter Rebecca Miller has no fear of filmic cliché.

There is not an honest line of dialog or credible emotion in this film. Obvious symbols and self-indulgent earnestness give the production an overwrought feel of adolescent angst. And unfortunately, this "style" extends to camera-work, which calls attention to itself at the expense of the story, and a score which should receive a "worst use of Bob Dylan" award. This is the worst film with a serious intent I have seen in years.