Take Shelter

How do you handle visions about the future that are so real that you're sure they're going to happen? I suppose that's what it's like to be a prophet, but being a prophet in 2011 is a quick way to get you committed.

Curtis LaForche (Michael Shannon) was having incredibly vivid visions; so much so he began to build an underground shelter much like Noah began building his arc. Curtis envisioned a biblical storm that would decimate all in its path. The problem is no one else believed him, and there is that small thing about his mom (Kathy Baker) being schizophrenic. Perhaps it was hereditary.

"Take Shelter" moves slow and methodically. It's a bit hard to be patient with the movie as Curtis' life crumbles around him and we're waiting to see if his visions are correct or not. Curtis is such a good guy you don't want him to be going crazy, but you have to prepare for that possibility. To add to his complications he has a deaf daughter (Tova Stewart) in need of an expensive surgery. Curtis paints himself into an untenable position: his vision must come true or he must come to grips with his mental illness.

In "Take shelter" Curtis La Forche (Michael Shannon) is afraid of a devastating storm. Soon this fear dominates his life and he decides to make an underground shelter in his backyard.

"Take shelter" is about fear but it is also about the apocalyps.

The apocalyps takes in this film the form of a devastating storm. It's a storm of biblical proportions, but less religious spectators maybe inclined to make a connection with global warming. Apparently each time has it's own image of what Armageddon is like, because in the 80's of the last century I'm quite shure the film would be about a nuclear Holocaust.

Whatever the form the apocalyps takes, the remedy is more stable: an underground shelter. Watch for example the video clip Donald Fagen made for his 80's hit "New frontier".

"Takes shelter" is also a film about fear, just like for example "Cleo, from 5 to 7" (1962, Agnes Varda), in which the lead character is afraid of having an incurable illness. In both films the clues indicating whether the fear is justified or not are mixed.

Justified or not, for sure the fear in "Take shelter" is not functional. At first it puts the main character in social isolation and (in an ironic twist of fate) when his fear may materialise his shelter is way out of reach.

The social context of the film is firmly American. When the lead character loses his job during the film, he also loses his health insurence. For a family with a disabled child this is nothing less than a disaster. Something similar happened in "The insider" (1999, Michael Mann).

Take Shelter is an intelligent, thought provoking, nicely shot film featuring an excellent performance by Michael Shannon (an Oscar nomination, surely?), who was also great in director Nichols' previous/first film, Shotgun Stories. The film explores the line between fear and paranoia, or objectivity and subjectivity, as it's protagonist - a blue-collar family man of few words - wrestles with apocalyptic dreams and visions of a strange, possibly supernatural storm, responding to them as best he can as both literal warnings AND possible signs of mental illness. The film has a brooding, at times Hitchcockian atmosphere and a very timely feel to it (think financial and environmental disasters). Set in a rural community, we have plenty of lovely wide shots of the land- and sky-scape (also a strong element of Shotgun Stories) with some added CGI on the latter for the dream/visions. Shannon's performance constitutes at least 50% of this films worth but the rest of the cast are good too. It's a slow mover and, at around two hours and fifteen minutes, perhaps a bit too long. My wife and I did have a few criticisms after watching it (at the Sydney Film Festival), but I wouldn't want to discourage anyone from seeing this film, which will no doubt be a hot topic and bring Nichols deserved recognition when it goes on general release (September 30 2011 in US)

Greetings again from the darkness. What a beautiful piece of filmmaking that up-and-coming writer/director Jeff Nichols (Shotgun Stories) delivers. Not only will the story grab you and hold tightly, but Michael Shannon's performance will stun your senses. All of that from a film with very few special effects and a story based in a quiet, rural Ohio town? Yes.

Shannon (Boardwalk Empire, Revolutionary Road) plays Curtis, a quiet, hard-working husband and father. His friend and co-worker Dewart is played by Shea Whigham (also Boardwalk Empire). Early on, Dewart tells Curtis (with a touch of envy) that he has a good life, and that's about the best thing you can say about a man. It's about this time that all heck breaks loose for Curtis. He has apocalyptic dreams and visions that a world-changing storm is coming.

Being the strong man and protective head of the family that he is, Curtis tries to keep this quiet. However, his behavior grows more strange as he builds out a storm shelter in the backyard, gets rid of the family dog, and messes things up at work. Most of this wouldn't stand out for most people, but Curtis is the "normal" guy - the one who is consistent and predictable. At least he once was.

Curtis' wife Samantha (Jessica Chastain) and hearing impaired daughter Hannah (Tova Stewart) are supportive and try to give him space, but the family demands are such that a husband and wife confrontation is not long in the making. Turns out Curtis has a family history that drives him to dig a little deeper and even seek help.

After much emotional wrangling, there is a scene at a fundraising dinner where Curtis and Dewart have it out. Shannon's rant is one of the more powerful scenes you will ever see on film, and may have just clinched him an Oscar nomination.

This is a thought-provoking and emotional film that doesn't beat you over the head. Things unfold at a natural pace, in fact, it may be too slow for some viewers. The score is haunting and never once over-bearing as we battle through these stages with Curtis.

The ending may prove controversial, but I just smiled a very satisfied smile in appreciation of one beautiful film. There could be comparisons to Peter Weir's The Last Wave, or even The Coen Brothers' A Serious Man (sans humor), but to me, this one stands on its own as a story of love, support and strength.

Take Shelter is a brooding, psychological thriller that does a wonderful job of generating foreboding and unease, while hinting at bigger thematic questions.

Curtis is in construction, a steady guy in a steady job taking care of his family. His mate Dewart tells him, kindly and a little enviously, that he has a good life. That comment comes just as nightmares creep into the daytime for Curtis and the pressures of the possible descent of mental illness, and impending catastrophe, seep into his being. He makes the decision to tell no one but medical professionals. He needs help. But that does not mean his fears are unfounded.

Michael Shannon is superb as mad-or-is-he? Curtis. When he gives voice to his darkest fears in a very public forum, he is the definition of unhinged. Jessica Chastain plays his put-upon wife Samantha, and gets to test her range in a nightmare sequence where she is tempted by a breadknife and the sight of her husband's exposed neck. The look on her face had me pushing back in my seat.

The film opens with big, brooding questions. Is Curtis somehow psychic? Is the approaching doom related to their daughter's illness? Does the ever-present threat of economic ruin somehow inform these impending cataclysmic events? Horror film tropes are employed in the nightmare sequences, as Curtis wakes up just as he is attacked. This becomes slightly predictable at the third dream, and the film sags slightly in the second act. The two-hours plus running time is a tad flabby. But Shannon is commanding, the cinematography eerily beautiful, and the ending deliciously straightforward and ambiguous.

We live in uncertain times. Those who carry on blindly and trust it will be okay may be the maddest of us all. Take Shelter shows one man unravelling, and resonates with all our contemporary worries. Highly recommended.