The Architect

THE ARCHITECT is a film based on a play by David Grieg that deals with social class dichotomy, lack of communication in families, gender confrontations in youths, and coming to grips with decisions of the past that later haunt. Made on a budget less than a million dollars and shot in twenty days, this unique little movie packs a wallop in the most secretive and subtle way. Directed by Matt Tauber, who also wrote the screenplay with Grieg, it has a fascinating, if at times disconcerting, format of quick scenes flashed before our eyes like simultaneous conversations - and some of the power of the film is piecing those snapshots together as the film ends.

Leo Waters (Anthony LaPaglia) is a successful architect, married to a wife Julia (Isabella Rossellini) who seems on the edge of mental instability. They have two teenage children - Christine (a very fine young actress Hayden Panettiere) who at age 15 is aware of her body and yet fearful of its implications in her interactions with boys and men, and Martin (Sebastian Stan) who has returned home from school as a drop out whose mind is preoccupied with soul searching. The discord at home is matched by the incipient calamity ongoing at a Project Leo designed early in his career, a Project now physically crumbling under the weight of drug dealing, crime, and discontent tenants - all led by activist Tonya Neeley (the superb actress Viola Davis) who has one daughter at home with an early conceived baby and another daughter who has stepped out of the Projects to better her education (her twin brother committed suicide in despair of his plight in the Projects). Two families in conflict over different reasons on the surface but sharing a similarity that is demonstrated as the story proceeds.

Christina naively begins to frequent bars and is protected by a truck driver Joe (the very fine actor Walton Goggins) who kindly introduces her to the realities facing hormonally charged yet fearful young girls. Martin, in an attempt to understand the Projects problem as explained to his father and family by Tonya, visits the Projects and meets Shawn (the very fine and handsome young actor Paul James) who cautiously helps Martin discover his sexuality only to succeed in allowing Martin to discover his true sexual proclivity but meets a sad ending when he is rebuffed.

At the peak of tensions Tonya succeeds in winning over Leo's understanding of her activist dilemma, Julia breaks and leaves her family and both of Leo's children discover life lessons that will imprint their psyches permanently. Minor victories rise out of major turmoil - and the writer and director have the courage to leave the story for us to resolve.

It is refreshing to encounter a cast of actors so sensitive as this one. From the leading roles to the most minor of characters the acting is absolutely first rate. We need more films of this caliber to remind us that one of the purposes of art is to allow us to see the problems of our world. Highly recommended. Grady Harp

too much. too strange. a lot of questions, each important, each profound, cruel and delicate in a huge ball. a cast in a kind of movie-play in which only form of survive is science to use a mask. marriage crisis, coming up of a young man among shadows, a wife like a Bergman character if she is not a zombie, a daughter in search of something , an activist like Don Quijote without money for psychoanalyst, a father face to face with his past errors. the sin of movie - use of very good actors in a chaotic experiment.or ambition to say all without basic rules. it may be modern art. if it is a picture. but it is only a poor movie. beautiful as intention. not very seductive as final work.

I saw The Architect at the Tribeca Film festival earlier this year, and it has really stuck with me. It's one of those movies that asks tough questions about difficult issues like race, sexual identity and economic justice, and leaves room for the viewer to form their own opinions. Unlike the movie Crash, which deals with many of the same themes, there are no spoon fed answers in this film. Instead of one dimensional characters the Architect brings to life some complex and flawed individuals, and shows us their struggles to find the right path. Some really strong performances here, especially from Viola Davis. If you get a chance to see it, I highly recommend it.

Given the themes of this movie, it is particularly sad that it is such a boring and plodding exercise in poor film-making. The cast seems either drugged or not drugged enough, with the exceptions of Paul James as Shawn and Walton Goggins as Joe, who seemed to be breathing at least. The staging and lighting were horrific. The make-up and wardrobe were worse. The writing was stilted and paced for a depressed tortoise. Anthony LaPaglia did not seem the same actor who has done so many good roles. Isabella Rossellini appeared to have been injected with Botox and walked/talked like a robot. The soundtrack was the most annoying thing about the film. It was like Philip Glass on downers at the piano. Fingernails on a chalk board. Perhaps the portrayal of a really broken down housing project in a big city was accurate. But it seems quite pathetic that that element was the redeeming part of the movie, doesn't it? Glancing references are made to insanity, incest, child molestation, and homophobic rape. As in "Oh, by the way...." The DVD I watched had an interview with the writer/director who proudly spoke of the embellishments he made to the original play. It's scary to think he thought the movie was better than the original play.

I just saw this film last night at the Denver Film Festival and didn't think it was very good. From what I have read about the original play, that sounds like it would have been the better version to see. The dialog in this film did not sound real to me. The characters were not developed. I didn't understand why the mother was so unhappy. I couldn't believe, or have sympathy for, the daughter's choices. I didn't buy the relationship between the black boy and the white boy at all. The part of the story about black woman's family was more believable but still not explored enough. Also, I think most Chicagoans will have trouble with the veracity of some of the scenes. I lived all my life in Chicago until two years ago and, I'm sorry, white teenagers do not hang out in the projects. Nor do their white fathers go there at night and hang around on roof tops smoking cigarettes.