The Song of Sway Lake

This is the type of movie in which you won't regret watching it after the film is over, but you might think what else you could have done with your time and money if you spent any to see it.

The aesthetics of the film were amazing, there were some beautiful shots. The plot was straight forward and the characters were fairly fleshed out. Robert Sheehan played a particularly colorful character named Nikolai, who spent a good bit of the movie barely or not at all clothed - so if you're in it for gratuitous Sheehan, you're all set. Overall it was really enjoyable for my friend and I, though we didn't spend much time discussing it after talking about what we thought happened after the ending. As a comparable musical once said, "Look, I know it's not a perfect show...It does what it's supposed to do; it takes you to another world. A little something for when you're feeling blue, you know?" And this film did just that. It's an escape to a warmer, more interesting place of exploration and ultimately growth.

Sway Lake and summer go together like sun and hammocks .. or martinis and olives. Ari Gold's The Song of Sway Lake was actually released on June 21, the first day of summer! Location? A swanky lake house in the Adirondacks -- a dazzling paradise for swell-egant parties of the New York jazz-age upper crust.

Sway. It's not a common word but it conjures up sensual images of hips, dancing, bourbon and Gershwin. It could mean swing, undulate, guide, persuade. From the opening, rather erotic, underwater scene, The Song of Sway Lake blends the dreamy and the realistic, the mystical and the practical, blurring the lines between the ephemeral and the concrete, the past and the now. The first plunge into the lake is both a dip into misty memory and a crisp splash to erase it.

The cinematic period piece makes the viewer feel as if he/she is floating back in time...hearing the silver tones of Ethan Gold's mesmerizing melody, crooned by both John Grant and the Staves (Andrews Sisters reincarnated) is almost like being drawn in by the Sirens -- only we're not in Ancient Greece. We're not even in the 1940's. We're back in the 1990's...but completely sweetened by reminiscence.

In fact, reminiscence permeates the film, from plot to soundtrack. From the opening montage, one feels the pull (dare I say sway) of a time gone by, hovering in a '40's haze. Ethan's music is as haunting as the film - it's a blend of misty and crisp. Cole Porter or Ethan Gold ? The soundtrack title song wafts through the film with charcoal smokiness. I truly can't get the Song of Sway Lake melody out of my head -- nor do I want to. It's totally addictive and liquid like the lake, yet solid like a long-lasting sliver of art, rock or humanity.

As I see it, there are two types of people: those who are nostalgic and those who aren't. Proust nailed it with his Madeleine moment. With Song of Sway Lake, filmmaker Ari gold and twin brother, composer Ethan Gold appear to be members of the former club. A maestro of cinema, Ari paints the screen with wide, elegant brushstrokes of memory, sprinkled with speckles of here-and-now.

Plot? Jazz music collector Ollie Sway (the soul-searching, fiery Rory Culkin), grandson of Charlie (divinely timeless, elegant Mary Beth Peil), the owner of the magical house on Sway Lake, is on a mission to find a valuable record -- the only pressed 78 recording of her wedding song. He enlists his rough-around-the-edges Russian drifter friend (charming Robert Sheehan) to help steal the record from his wealthy grandmother 's estate. There's even a rather enchanting if offbeat, romantic seesaw sway between Charlie and her grandson's comrade. Theme? The tug between grasping tidbits of our past, archiving our detailed lives vs. letting go, living in the present. Style? Eric Rohmer meets Wes Anderson.

The Brazilians think that melancholy and bliss are connected. Perhaps the Gold brothers are part Brazilian --the translucent lake scintillates with the fragility of life and the permanence of death -- the fascination with murkiness and fear of finality.

Ultimately, Song of Sway Lake glistens. Like our lives, it is layered with dissonance and harmony, raw in texture. It is both evocative and haunting.

I saw it as a personal story about myself. About past and its figures, about choices, about love, about an object who could change everything and it does it but in profound special manner. And about a place, sacred for the memories and for the connections with it and for lovely manner to invent it as part of yourself. Two performances are real siignificant -Mary Beth Peil as Charlie and Robert Sheehan as Nikolay. One is more than beautiful - the young Rory Culkin as an Oliver Sway looking for invent his present. The source of love for this film, in my case, was the simple feeling to discover fragments of my life. Each film about yourself is a great discover. Fictionally, off course, but this status remains the only important. Short, a great movie. And a beautiful work in the most profound sense.

I would have watched this just for Elizabeth Pena, who I have loved since I Married Dora.

I am personally grateful they gave a nod to her in the dedications, although her name should have been first -- it was her last film. But, that's just me.

Borrowing the past to make a past of your own to have a future, or even just memories -- I enjoyed the film very much.