In the Bedroom

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.

Good human drama. Solid directorial debut from Todd Field. Pacing is a bit uneven though: the movie moves along fairly slowly for about 75% of its length, and then suddenly speeds up, and changes direction to a degree, towards the end.

Excellent performances all round. Sissy Spacek, Tom Wilkinson and Marisa Tomei deserved their Oscar nominations.

Every once in awhile, a filmmaker comes along and adds a pitch-perfect sensibility to a compelling story, well-written script, and perfect cast. This has happened with In the Bedroom. Though I saw, and enjoyed, director Todd Field's 2nd feature, Little Children, when it came out a few years back, I was truly astounded by In the Bedroom.

At a time when Americans' tastes in films are getting more and more juvenile, In the Bedroom is that rare film; one aimed adults. The characters and story line is compelling, the shots kept simple, yet beautiful, and the feel of the film is as real as most you will see. In the Bedroom would fit in perfectly with the some of the films from golden age of the 70s film-making. Unfortunately, we are seeing this less and less of those types of films these days.

It is hard to find a false moment, whether in dialogue or behavior, in this film. It deals with circumstances that we hear about every day, yet is no less captivating because of it. We are not clobbered over the head with the moments we are meant to feel deeply, yet they are apparent and often devastating to watch. There is an old saying, "you know the truth when you see it", and that certainly applies to this film. There was a knot in my stomach the entire first 30 minutes of the film, as director Field slowly builds to something you know is inevitable, and almost can't bare to watch.

Excellent performances turned in by Spacek, Wilkinson, Tomei, as well as all the supporting players. Proof, once again, that actors often make some of the finest directors.

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.