The Pack

"Smoking / Non-Smoking," is a stunning drama with clear and resonant allusions to the film classic "12 Angry Men." Here we have angry jurors who carry into the case being deliberated elements of their own lives. As questions of guilt or innocence are argued—Who is responsible for this man's death of lung cancer, presumably by secondhand smoke?—we are drawn into larger and larger ones about responsibility. Stereotypes dissolve in the characterizations and complexities of the issues, which become an inextricable weaving of personal, social and political ones dramatically alive in the dialog.

There are adroit cuts between the jurors deliberations, the trial and the lives of all involved, along with rich manipulation of imagery. Excellently written, directed and acted, the jurors are strong, carefully etched characters. As in "12 Angry Men," exchanges between them move from jury room to the rest room and back. In one, we get keen-edged engagement; in the other, moments of off-hand conversation that reveal nuances of character. There is a sophisticated use of imagery by director Alyssa Bennett, with one apt and meaningful visual allusion to "12 Angry Men"—which I won't tell. "Smoking / Non-Smoking" is provocative and intelligent, side-steps moralizing and leaves us with essential, inescapable questions about responsibility for ourselves and each other.

Partial to these actors - but aside from Elisabeth Moss's sweet cameo, Lucie Arnaz is the women to watch - playing a tough character, Roger Robinson (Tony Award at 70something years old for Joe Turner's Come and Gone) RIP, is soulful, poetic , Zach Galligan plays against his Gremlins persona, Jennifer McCabe is stunning, Adam Ferrara is moving and strong, Fiona Choi is lovely! Ryan Homchick as the son walks the line as a son with conflicted issues and love, Michael Pemberton pulls rabbits out of a hat, Carlos Leon - Madonna's X is an actor who should have a more of a career, Molly Culver is strong and tough, Angela Pietropinto (The Soprano's, Goodfellas, Welcome to the Dollhouse) is delightful and Tibor Feldman (the Devil Wears Prada) is both compelling, conflicted and beautifully transparent.

This film is great educational tool for teachers and parents a like to show young people the dangers of smoking and how it not only effects you, but everyone around you as well. People never stop to think how their choices effect those around them until it is too late. This film brings that issue into the forefront and forces everyone to realize that dangerous behavior, including smoking and secondhand smoke, has consequences that not only effect you but others around you. It also makes people question are you to be blamed for hurting others with your behavior or should others be accountable as well for not taking their own health and safety into account.

The Pack achieves what all social issues films should -- the issue (in this case, tobacco use, and in particular second-hand smoke) -- is contained in the DNA of each and every frame, and yet the story transcends the issue and carries us away in its own right.

In part a court-room drama, and in part a family tragedy, The Pack is directed (by Alyssa Rallo Bennett) with great restraint and a steady hand. In fact, the ensemble cast is excellent, with Lucy Arnaz negotiating the murky territory in her roles as mother, housewife, and murder suspect.

As someone who has been closely affected by the devastating effects of lung cancer, I appreciate this film for standing strong on one of the burning issues of modern times.

I'm drawn to films that ask the big questions and am always disappointed when they end with the answers in shiny, prepackaged bundles, pocket sized so we can take them with us. Those tiny, feel good endings usually end up disintegrating in the laundry and are soon forgotten. What is, or rather, where is the point? Where is the edge that keeps us alert, provoking us to dig deeper into ourselves for answers? In my view, that's the point of art.

Smoking/Non-Smoking is a provocative, uncompromising film. If you allow yourself to experience, as I did, the seat-squirming discomfort of seeing up close an unflattering side of yourself in the very human, believable characters in the film. Who among us does not pass judgment on another's weakness, vanity, self-centeredness or self-righteousness? And here the lure to judge a self-centered wife and mother opens up a Pandora's's box of cultural vipers -- even with our best efforts to remain neutral and objective.

The film can be described as a tense, courtroom drama and morality tale about individual responsibility, the context of which is the accusation that the death of a husband was caused by the second hand smoke of the wife (the human inferno played with volatility and conviction by Lucie Arnaz). The twist, it's the 24 year son who is the accuser.

But all this is only to set the stage to ask profoundly deep questions about relationships within our families, our communities and in the courtrooms and deliberating halls of justice which are to act when we fail to do the "right" thing.This film dares to ask the question: How far can I carry my individual desires, pleasures and addictions? Through courtroom cross examinations and expert witness testimonies, intense arguments by a diversity of jurors with varying perspectives, life experiences and temperments, and private conversations between son and mother, lawyers and clients, we arrive at the limits of what our logical minds can hold and are wrenched by the emotions that surface when we are charged with no less than a deliberation on "love," especially a mother's love. Our relationships are a muddle --- not only for the family in the film, but glimpses into the lives of the jurors show that they, too, have their vulnerabilities and challenges.

The integrity of the film is marked by keeping our toes to the fire. The scenes are almost all shot in interior rooms with windows that don't open, close-ups, bathrooms in which we are looking at the characters' reflections in the mirrors, and bedroom scenes --- all suggestive of the intimacy of human relationships and the pain, joy and suffering we can cause one another. The opening scene is a tender one of a mother (one of the jurors) and her daughter and is repeated again at the end. This is an ever so light brush stroke which demonstrates the potential and possibility for all of us to care for one another. There are a number of surprises along the way I won't give away. Go see it and be challenged. It's worth it!