Sans issue

So simple. So honest. So heartbreaking. I dare you to see this movie and not go through a self-invasive, heartfelt understanding for the familial and emotional conflicts these characters go through. one of the best films shown at Sundance, hands down. Not a movie for the emotionally squeamish...brutally powerful... Violent, excruciating truth and beauty...the raw emotional power imbued into the scenes with Wilkinson and Spacek are Oscar-worthy. Marisa Tomei finally gets a role worthy of her talent since My Cousin Vinny. Utterly unforgettable, and a slam-dunk certainty for some kind of oscar, whether screenplay, acting, or directorial.

Wow.

This movie was so well done, I felt as if I were an outsider, looking through someone's window. Then the tragedy occurs, we were treated to what probably would have happened after a crime of passion, the imprecision of the evidence, the lack of a witness, and the ability of the perpetrator to avoid prosecution. Mostly the movie is about acting. Sissy Spacek is amazing, so tightly wound and in control. Her somewhat passive husband becomes her foil until the fuse is lit. Then it all comes to a head. I can't imagine living through something like this where your allies become so worthless. There is a scene where the prosecuting attorney jingles his change and looks at his watch while spouting a bunch of meaningless jargon about justice. The father goes catatonic while this is happening. Things play out like they do in life; there are no winners and no losers.

The use of sound in the film was interesting. Background noise was used to tell the story as much as as the filming angles. This gave the movie a compelling dimension of claustrophobia for the main characters as though everything was closing in on them.

The sound aspect perfected a sense of distraction or lack of concentration that many people may feel after a tragedy. Of course the obvious scene is where the Dr. Fowler is speaking to the DA. The focus of the camera captures the movement of the DA's mouth, then the jingling of the keys in the DA's pocket. Another not-so-obvious scene is when Dr. Fowler visits Natalie in the country store. The footsteps, the creaking of the floor boards, and the beeping noises from the cash register all create the sense that both Natalie and Dr. Fowler want to lash out at creators of those noises.

Ahh, January. Is there a better time of the year for us film-geeks? Everywhere you look, Oscar contenders, star-studded movies and stellar performances. The latest foray to the theatres was In the Bedroom, a drama about a family in rural Maine.

Relative newcomer Nick Stahl plays Frank Fowler, a young college-bound man who spends his last summer at home fishing and dating an older woman, Natalie Strout (a surprisingly good Marisa Tomei). The problem? Well, it turns out Natalie has two kids and an ex-husband who isn't too happy about this new relationship, which leads to increasingly violent confrontations between the two men. In itself, an interesting story with solid performances that probably could have carried the movie by itself.

The real strength of this film, however, is Sissy Spacek and Tom Wilkenson who play Frank's concerned parents, and how the events in their son's life affect them. You will hear lots of talk in the next few months about Spacek's performance and likely an Oscar is in her near future, but to me, it's just the choice of a sentimental favourite. Don't get me wrong; she does a wonderful job, but her screen time is quite limited in comparison to Tom Wilkinson and he, to be honest, steals the show.

In the first half hour of this film, I thought In the Bedroom was a decent movie, but nothing special, until Wilkinson took over, and from that point on dominated scene after scene in what I consider one of the strongest performances of the year. Without saying too much more about the plot of the movie, suffice it to say that Wilkinson takes you through the full range of emotions, and you can't help but be focused on the presence he exudes throughout.

Todd Field's IN THE BEDROOM is an artistic and realistic portrait of domestic trouble in small-town America. Sissy Spacek and Tom Wilkinson star as Ruth and Matt Fowler, the parents of a recent high school graduate, Frank (Nick Stahl), who has an affair with a married woman, Natalie (Marisa Tomei). A tragic event near the beginning of the film seems to stunt its action and dialogue, allowing the film to change into a largely visual piece based on memories, feelings, and silent communication; while the film's slow-moving camera, soft sunny lighting, and cautious pacing give it a resonating intensity.

Set in coastal Maine, the Fowlers are a well-liked family with simple, straightforward values. Dr. Fowler has his own small medical practice. Mrs. Fowler directs the chorus at the high school. Frank is a good kid who is working on the fishing docks for the summer, waiting for college in the fall. Frank falls into a summer romance with Natalie, an older woman with two young sons and a creepy, lurking husband (William Mapother) from whom she is separated. The relationship is worrisome to Mr. and Mrs. Fowler, but they want to be supportive of their son so they gently nudge him to think about the bigger picture, without being overbearing. But when the unthinkable happens, Mr. and Mrs. Fowler come face to face with their worst nightmare. Quietly, calmly, and with the most logic they can muster, they begin a dark and dangerous psychological journey. The result, reinforced by stunning performances from Wilkinson and Spacek, is a pensive, penetrating, and utterly believable story.