The Living

What I do isn't about the people that die. It's about the people that are left alive. They get the short end of the stick, as far as I'm concerned.

"The Living" is a basic revenge film in which the reprisal turns out quite differently than initially intended. A social drama about domestic violence and alcoholism, although I started wondering after a while how critical this alcohol problem was. The evolution to this violent abuse wasn't discussed. How could it come to this? Were there already signs of an oncoming problem? And were there cases of domestic violence already in the past? You're kept in the dark when it comes to these relevant considerations.

The first image, accompanied by music from The de Luca Brothers, is that of some empty beer bottles scattered around on the ground and an unconscious Teddy (Fran Kranz), who apparently is sleeping it off. Upon awakening he finds out he has a bloody hand and his wedding ring is missing, after which he becomes aware something terrible happened the previous night. The fact that his young wife Molly (Jocelin Donahue) is no longer present in the house, confirms his suspicion. Molly has fled to her parents' home where her mother Angela (Joelle Carter) and brother Gordon (Kenny Wormald) still live. When Teddy arrives there and Molly returns with him despite everything that happened, Angela threatens to use her shotgun and shoot Teddy. Simultaneously she's also furious about Gordon defending his sister in a lax way. Mad about what happened to his sister, Gordon takes the advice of a workmate (who knows someone who also knows someone else who could teach a person a lesson), and he goes looking for this person to solve the problem once and for all.

Unfortunately this is, despite some brilliant performances, a fairly banal story with a predictable storyline and no surprising conclusion. The whole film actually just shows the emotional relationship between a few people. First, the fragile and broken relationship between Molly and Teddy. Molly makes it clear to Teddy that he has to do everything to make up for the incurred suffering. What bothered me in this part of the story, was twofold. Teddy doesn't really resemble a typical alcoholic who tends to use violence against his wife. He looks remarkably fresh after an evening of heavy drinking (with a solid blackout as a result) and seemingly he doesn't have problems with staying away from booze. And Molly didn't need much time to forgive him again. Teddy didn't have to pay enormously for his actions. But I'm convinced this is most common in this kind of situations.

The second relationship arising in this film is that between the timid, uncertain Gordon and Howard (Chris Mulkey), the psychopathic killer who isn't afraid of murdering someone for a few dollars. This subtle interplay between these two opposites was the most fascinating of the whole movie. Magisterial acted by both. The realization that slowly grows to Gordon that he may have took the wrong decision. Howard is someone who is straightforward and clearly takes matters in hand to finalize it. There's a key moment in a restaurant where I thought the film was going to escalate into a spiral of violence. But to my surprise it remained to that single moment and the impact was limited to the fact that Gordon was more uncertain and scared to dead of Howard. Mulkey is brilliant as the crazy killer. Top performance.

But as I mentioned earlier, these superb performances can't cover up that the essential substance of this film is kind of feeble. A succession of obvious events and a simple story with no undue risks taken. Domestic violence is usually a complex psychological story. In "The Living" this is elaborated rather simplistic. Even the injuries Molly had after the quarrel, didn't exactly look realistic (it was more a result of a makeup party that got out of hand). Thanks to the charismatic Mulkey, this film was worth to watch.

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Kenny Wormald as Gordon carries this movie from start to finish. He shines in his role as the confused, spirit broken, son of Angella, brother of Molly, and trapped future-less stock clerk at a local grocery store.

Gordon feels defeated by his mother constantly pecking at him and belittling him. Gordon wants to stand up to his abusive brother-in-law but lacks the will and the drive. His mother fails to realize she has destroyed her son. Molly (his sister) and wife to Teddy only stands up for herself when pushed into a corner as shown by how her husband Teddy beat her and then Molly fights back. But she cannot stay away from Teddy at her mother's house because she see's her mother as more abusive psychologically than Teddy's physical abuse.

Fran Kranz as the husband Teddy is very smooth and likable in this role as he charmingly worms his way back into Molly's trust only to have Molly reject him again and again. BUT pay attention to the kitchen scene near the end of the movie! His true character is coming out when he gets Molly to 'get' something for him. And she does! She is now back into his control.

Chris Mulkey as Howard is one spooky dude! A terrible creature and Gordon doesn't realize this until it's too late and he then knows he's in over his head. Howard has complete control of him. The finest scene is in the restaurant conversation between Howard and Gordon .... it is here that Gordon actually gets Howard to philosophically question himself and his life. But he too is in over his head with his past life and he cannot escape it, his ship is sinking and he might as well go down with it. On the other hand Gordon must find a way off this sinking ship.

This film is perfect from start to finish! Bravo's to writer/director Jack Bryan and the entire cast. A must see film!

Watched it because of love indie films. I finished the movie, wondering "how did I end up wasting my time with this one?" I am not a movie reviewer but I just simply had to put my two bits in on this one! I hated it. Low budget, bad acting, poor directing, bad sound, bad picture. Yuck!

Make-up was horrible. How did this get on my list of movies to watch?

I sat through 90 minutes of wondering if a plot would thicken or a twist would come. Never. The movie didn't improve from the first minute. It just went on and on, into nothing...

I don't even know who the main characters were. Not one of the actors stood out as anyone to follow in the story. Not one of the actors showed any sign of acting ability. I will try and make sure to never watch anything with any of the actors that were in this film or even involved in the production. I just wish they could all be blacklisted for me. Spare us all, please.

In this movie, just about everyone is attempting to control some other person. There is overt control, there is manipulative control, there is suggestive control, there is, 'I am going to take over this relationship' kind of control.

If you enjoy this sort of movie, this is a quite decent implementation, especially given the person who seemed least controlling pulls off an action of which his character and personality suggested he was incapable.

Not my sort of dish, but it held my attention to the end, which means it wasn't half bad.

In rural Pennsylvania, Teddy (Fran Kranz) is beating up on his wife Molly (Jocelin Donahue) again. Her weak-kneed brother Gordon (Kenny Wormald) won't do much of anything. Gordon is browbeaten by their mother Angela (Joelle Carter) for his weakness. His work friend suggests hiring Howard (Chris Mulkey), a killer from Mississippi. As Gordon and Howard drive back to Pennsylvania, Howard's violence causes Gordon to reconsider.

There are two ways to consider these characters. They can be seen as complicated and deeply flawed humanity. They can also be seen as wrongly written and pathetically unredeemable. Molly's attachment to Teddy can be very disturbing but it's also not unreasonable. Plenty of abused women defend their abusers. Gordon's pathetic character can be very annoying. At the end of the movie, I wish that this was made by the Coen brothers. They would have injected some comedy and pathos which would make this tragedy somehow humorous and more compelling. I don't know much about this filmmaker. He doesn't have it.