Indignation

I was on the road researching a book on Texas barbecue when I read Philip Roth's novel, Indignation. I had managed to shelve it away in my brain until I saw a movie of the same title playing at a second-run movie house near me. Could it be? Yes, it was the same story. Better than it, the sleek yet powerful prose made its way onto the screen with its integrity intact. And you know what? A crowd of about 30 of us sat rapt for 110 minutes. Nobody talked until the credits rolled, but everybody laughed at the appropriate moments and there were even a few well-placed gasps of surprise. A good story, an intelligent script and a fine cast will work that magic. Give yourself an evening to find out.

The cast is so perfect that I have to single out one performer as an example of the great work provided by all. Danny Burstein plays a father so proud of his own son and so worried by his son's future in an uncertain world marked by war that he seems to be descending into madness. The actor is harrowing to watch because you can feel all the love that burns inside of him and that he just can't bring himself to express properly. Maybe it would not be manly or maybe he doesn't know the right words or maybe he just doesn't think he needs to say anything directly. Yet we can feel his every fear, his mixture of hope and despair, his pride, his love, his frustration. Wow.

James Schamus adapted Philip Roth's novel INDIGNATION for the screen and directed it: the result is a slice out of the past with all the innuendos and social commentary and Americana of the 1950s intact. The film retains the flavor of Roth's writing who is said to have stated 'This will come as a great shock to young people, but in 1951 you could make it through college unscathed by oral sex.' That is but one island of realism that this film addresses and when coupled with all the myriad instances of living life in college in the time of the Korean war, the result is a firm reminder of the Edward R. Morrow television series 'You Are There'.

Set in 1951, the story follows academically gifted Marcus Messner (a brilliant Logan Lerman), the idealistic son of a humble kosher butcher Max (Danny Burstein) from Newark, N.J. Marcus leaves for Ohio to study at Winesburg, a small, conservative college, where he finds himself at odds with the administration's Dean (Tracy Letts), grapples with anti-Semitism and sexual repression and pines after the beautiful but troubled girl Olivia Hutton (Sarah Gadon). Marcus separates from his assigned fellow Jewish roommates, declines an invitation to be in a Jewish fraternity, has a sensitive confrontation with the school Dean over Marcus' atheism and his loathing mandatory attendance in chapel. He finally has a date with Olivia who surprises the virgin Marcus with a car seat fellatio and that act sets into motion the cultural disaffection not only at college but also with his parents: his mother (Linda Emond) visits Markus in Ohio, meets Olivia, and shares with Markus that she loathes husband Max and is in the process of divorce. Markus' humanity shines through and he persuades his mother to not divorce, an agreement reached only if Markus will never see Olivia again.

The actors assembled are all accomplished and find that core of Philip Roth's view of the world so sensitively that this is far above being just a period piece. The musical score by Jay Wadley adds flavor of the times. The ending of the film is gut wrenching on many levels and to say more would spoil the film. This is a fine adaptation of Philip Roth's style. It is immensely successful.

(RATING: ☆☆☆☆½ out of 5 ) THIS FILM IS HIGHLY RECOMMENDED. IN BRIEF: An underrated film that deserves to be seen...one of the year's best dramas. GRADE: A- SYNOPSIS: In 1951, a young Jewish man goes to college to avoid the Korean War and falls in love with serious consequences. JIM'S REVIEW: Based on Philip Roth's novel, Indignation tells the familiar story of a young repressed Jewish man falling in love (or lust) with a beautiful Gentile woman in the 1950's era. A rehash of Goodbye Columbus without the comic edge and irony, this film follows a similar outline by the same author, but is far more solemn and serious in its treatment. This is typical Roth territory in which our hero will try to overcome the obstacles placed in his path as fate deals its upper hand. Marcus Messner (Logan Lerman) is an intellectual loner. Yearning to escape from his domineering Jewish family, he goes off to a conservative Christian college rather than fighting in the Korean War. It is there he meets Olivia (Sarah Gadon), a beautiful blonde vision of loveliness and their first date leads to a budding romance. It is also there that he encounters an omnipotent and powerful head dean, Dean Caudwell (Tracy Letts, in a powerful performance, but more on that later), who has great difficulty coming to terms with this all too rational and radical student and avowed atheist. The screenplay adaptation by James Schamus, who also directed the film, is first rate. It allows the characters to intellectualize their philosophies with such eloquence. The film starts off a bit too leisurely but establishes characters and place so effortlessly. The film structure begins as a flashback with narrative voice-over that doesn't really make much sense until its full circle ending, with one of the most powerful closing shots that emotionally left me gasp. Mr. Schamus' literate script aligns with his skillful direction, as this talented filmmaker captures the mindset of this nostalgic but troubled era in an understated fashion. (Speaking of fashions, the costume design by the gifted Ann Roth is a visual treat as well.) About the midway point, there is a remarkable dramatic scene that highlights the glorious direction, screenplay, and acting unlike any other film thus far this year. It is a rather lengthy confrontation between our idealist liberal young hero sparring with a smug conservative dean. The teacher becomes intellectually inferior to his student as their conversation continues. The tension builds ominously and slowly in this cat-and mouse gamesmanship, maneuvering from one point of view to the next. It is startling its its subtlety and impact. Simply put, it is the highlight of this film and one of the most engrossing scenes one will see this year in any film. The acting is superb. Mr. Lerman as Marcus is perfectly cast and carries off the innocence of youth angle in this coming-of-age tale. This actor commands the screen and makes his character quite believable and caring. His love interest played by Ms. Gadon definitely looks the part, but her acting skills never reach the depth of her written character. She needed to be that 50's female icon, a Grace Kelly type, but comes off as a second-tier Kim Novak or a third -rate Cybil Shepard. She's good, but not good enough when compared to the stellar acting by others in this movie. The film is populated with top-notch Broadway veterans in supporting roles who certainly know their way around a script. Danny Burstein plays Marcus' over-protective father and he is so strong in his nuanced acting that one wishes he had more screen time. Adding fine support in smaller roles are Ben Rosenfield and Pico Anderson. But there are two truly great performances that deserve award recognition: Linda Emond as Esther, Marcus' loving mother, who has a wonderful speech as she tries to steer her son into making the right decision. It is delivered with such skill and passion. Tracy Leets as the egotistical and bigoted Dean Caudwell, is a marvel, creating one of the most terrifying teacher role models since J.K. Simmon's sadistic teacher in Whiplash. The hatred and intolerance of others is so condensed in Mr. Leets' body language and facial expressions that the end results counteract his words in the most unsettling manner. (Oscar voters, are you listening?) The film's theme about life' s choices, about the road we take or did not take, about the small detours that can have consequences which will eternally haunt our existence, is foremost in this thought-provoking story. Mr. Schamus has made an compelling case with his wonderful debut, Indignation. Let us hope this independent film makes a compelling reason with the movie-going audience for compulsory viewing and is not lost amid the blockbusters and cinematic hyperbole that is usually the par for the summer course. Run to see this film while you can! It demands your attention!

What can I say? This movie started out like a seemingly carefree experience about college life in the repressed early 1950s. Somewhere along the line, it does a complete about face and becomes an extremely serious take on pre-material sex, interfaith romance,the belief or lack of in God, the misfortunes of war and destiny. The performances were all outstanding and captured the morals and the social structure of the early 1950s. At times, some scenes were a bit long and slightly dull, but this reflects on the concept of this film....life can be dull and boring until one opens up their being to new experiences. Wuthout giving the ending away, it is a surprise and extremely depressing. I like happy endings and unfortunately, this film ending ranks as one of the most depressing in film history. Still, if you love great acting, see this film. 10 out of 10.

I had no idea what the actual premise for this film was, but I did think it would be a period melodrama that could also prove to be overly sentimental and a little sappy. However, it really surprised me in what it actually turned out to be. It's a coming-of-age take that is different from most that we get. It's very dialogue-driven and that dialogue is just a joy to listen to. The film takes a deep look into the characters' psychologies and doesn't resort to the usual dramatics that films of this type usually do. Logan Lerman is an incredibly talented actor and he once again shows his skill here. A mature and very detailed performance.