Le poids du déshonneur

"Before and After" has a fine premise - the girlfriend of their 16-yr-old son is found apparently murdered in the snow and the parents struggle with what to do. Eventually, when the son goes A.W.O.L., they suspect he commited a murder, and the whole family struggles with what to do. The father finds bloody items in the trunk of the car and is able to dispose of them before the sheriff returns with a search warrant. Eventually the son shows up, the father and mother disagree on what to do, the younger sister gets upset.

"Before and After" also has some of the finest actors of our day - Liam Neeson as the father, Meryl Streep as the mother, Daniel Von Bargen as the sheriff.

But, somehow the movie only works moderately well. Some of the dialog is a bit dubious, some of the scenes are over-dramatic. I suppose it is a function of so-so writing and directing.

Still, it is a film that kept my interest very well. The story got me to thinking what I would have done if any of my teenage children had gotten into a similar bind. With a great writer and director this could have been a "10" movie. I rate it 7 of 10.

I was pleasantly surprised by this movie. I had put off watching it for a long time because I thought it would fall on standard clichés in the telling of its murder mystery. But there's a lot to like here. For starters, the performances by the lead actors are first rate. Streep and Neeson come across as real people tackling a real problem. I should also add that Alfred Molina also gives a solid performance as the defense attorney. (Though the fact he looks like idiot movie critic Michael Medved gave me a few chuckles at times.)

The script gives most of its characters a fair shake. The parents are sympathetic at times, but sometimes they make decisions we disapprove of. The townspeople and police are not one-note characters, showing off more than one side.

The movie unfolds at a pace that keeps us interested and informed. It's directed with an appropriate bleak look that suits the subject matter.

There is one flaw with the movie, however. I thought that Edward Furlong's character was repulsive, stupid, and hateful. I don't blame Furlong for this, but his direction and his parts of the screenplay. I think a better way the movie could have gone would be to give him a mixed view, neither overly sympathetic or hateful. This would make the viewer think long and hard about him, and wonder if his fate at the end of the movie is correct or not.

In this film, a typical middle-class couple tries to cover up what they think is a homicide, after their son runs away without saying anything. Actors' work is consistent, but characters are so clichéd and annoying that it's hard to like them. Meryl Streep plays the good and naive mother, always in the shadow of her husband in a relationship that seems sexist and artificial. She is the portrait of the obedient housewife who does what the husband wants. I understand that the film is from the nineties, but even then there were other ideas about the role of women in the family. Liam Neeson is an impulsive and even violent father, whom its almost impossible to like, even though he shows that he likes his son and tries to protect him. Finally, Edward Furlong plays the teenager in revolt at who bad things happen, the idiot who dated a promiscuous girl who slept with anyone who appeared without pants in front of her. Ah, I almost forgot Alfred Molina, who played a lawyer who would be better off selling vacuum cleaners than in a courtroom. In short, it's a deep and engaging melodrama, but it makes the mistake of being totally predictable, like a TV movie.

BEFORE AND AFTER

Aspect ratio: 1.85:1

Sound format: Dolby Digital

A middle-class New England family is forced to confront a range of difficult issues when the eldest child (Edward Furlong) is accused of murdering his girlfriend (Alison Folland).

Barbet Schroeder's earnest drama looks and feels like a big-screen TV movie, toplined by A-list stars and filmed with professional elegance on wintry New England locations. Schroeder struggles to avoid melodrama and mawkishness, resulting in a lack of tension, as parents Meryl Streep and Liam Neeson become torn between protecting their son and telling the truth about his possible involvement in Folland's death. Frustrated lawyer Alfred Molina makes the point that 'truth' has little or no bearing on the criminal justice system, where defence and prosecution teams become engaged in brinkmanship designed to sway the jury one way or another. Ted Tally's screenplay makes a number of similar points, but the narrative begins to drift around the halfway mark and never really recovers. Some will be won over by the cast and production values, others won't be so forgiving.

This is an all too common problem: someone somewhere convinces bona fide movie stars, in this case Meryl Streep and Liam Neeson, no less, to appear in a feature film that, without movie star names attached, would have ended up as made for TV. This is a weak script with bad, predictable dialogue - very disappointing with such a cast. With some reworking, it might have been a very powerful family story, perhaps never as compelling as Ordinary People, for instance, but better than it was.