The Glass Castle

The book is wonderful, one of my favourite and most memorable reads in recent years. It was thought-provoking, harrowing and poignant, with a chillingly troubled but complex portrayal of dysfunctional family life. So there were high expectations on that front, as well as that a great cast were involved.

Seeing 'The Glass Castle' last night, it is a pretty well done film on its own terms despite a few faults. On the other hand, it is very understandable why it has been said that as an adaptation it is mishandled. Although always striving to judge a film adaptation always as a standalone, if asked which is better between the book and the film the answer's a no brainer. The book feels much more balanced and more complex and the ending rang true far more. Although 'The Glass Castle' has a huge amount to recommend and is better than some of the mixed critical reception suggests (personal opinion), its ending and some tonal issues are its biggest faults.

Particularly in the case of the ending. Not just because it is drenched in sentimentality that is hard even for the strongest of stomachs. Even more so because things feel wrapped up too tidily and patly, the ending is far more realistic in the source material and should have made it on film, definitely would have preferred something more daring than a conclusion that really did not ring true and felt tacked on. Another issue with the ending is that we are told up to the end one thing about Rex and Rose Mary, and it is so overwhelming in evidence that it's easy to believe, then at the end it does a complete 180 degrees and it was just hard to buy.

While not as problematic, things do get a little melodramatic in places and the point of view of the film is somewhat too one-sided, with much more development to Rose Mary and showing her as equally accountable there would have been more complexity.

However, 'The Glass Castle' is a beautifully shot film and the production values are never less than top drawer. The music is neither too intrusive or too low-key and the direction is skillful visually, handles most of the tonal and time shifts well and with good attention to making the portrayal of the family as real as possible.

Script flows naturally and is thought-provoking and nuanced. The story has its problems, but mostly it is very compelling, hard-hitting and pathos-filled. It's particularly good in its careful balance of laughter and tears, the intense but also profound understanding of the central father-daughter bond and in the twisted but troubled portrayal of the dysfunctional family. Apart from Rose Mary being underwritten and underused, the characters are more than archetypal clichés, Jeannette is especially well realised.

Woody Harrelson gives a courageously gutsy performance as a pretty reprehensible human being, while Brie Larson's Jeanette is powerfully conflicted. All the children are well cast, with Ella Anderson in particular being an absolute revelation. Naomi Watts does a very good job with what she has.

In conclusion, adaptation-wise it is mishandled and the ending really doesn't ring true at all, but it's a well made emotional roller-coaster with a believable portrayal of dysfunctional family life and stellar performances deserving of some kind of award recognition (Harrelson, Larson and Anderson in particular). 7/10 Bethany Cox

This may not be a movie to watch if you were raised in a dysfunctional family. It may bring back unpleasant memories as it did for me. I had to first read some of the critic reviews to see if their reactions were like mine. They were to a large degree. The problem lies with the premise that such bad parents as the Walls, can somehow at movies end have a happy face put on it. Make no mistake, this is an unpleasant movie featuring first rate actors trying to make a flawed screen adaptation work. Ella Anderson is the star of the movie, but Woody Harrelson plays such a bad dad, it is hard to buy into the sympathetic ending. Brie Larson is good but her playing the adult Jeanette Walls is the less interesting part of the story.

One of The Glass Castle's strongest aspects is how it takes an experience unique to a small amount of people, and makes it so relatable to the masses. 99% of the people watching this movie have not had an upbringing like Jeanette's, but the film crafts the story in a way that you can form parallels to your own life. This isn't just telling the story of someone's childhood; it becomes a commentary on the ups and downs of family life itself. And that's where The Glass Castle becomes something more profound. Some may have seen this relatability as a simplification of child abuse. But I would disagree. The movie never painted what happened in the film as a good thing. It never tried to spin that the parents for justified for how they chose to raise their kids. Instead, they showed that, when you boil it all down, the dysfunction between Jeanette and her parents stem from the same place as other people's parental issues. Instead of isolating the audience by showing us something completely and utterly foreign to us, they chose to make it relatable so that we could draw comparisons to our own lives...

This movie really bothered me. Rex Walls was not a misunderstood man whose demons excused the neglect and abuse he made his family suffer. He was a drunk con-artist who made his family suffer by not providing them with food or shelter. He was also an expert in conning his children into believing that he actually loved and cared about them. The Mom was not portrayed properly, she was equally complicit with the neglect and horrible childhood those children endured. The movie should have been about the children and how they somehow managed to thrive, not their horrible alcoholic father and lazy mother.

Greetings again from the darkness. We all have our stories. The stories that make up our life. Some of us dwell on the "bad" things, while others remember only the good times. A few even romanticize the past, which could also be termed embellishment. Where exactly on this scale that Jeannette Walls' story falls is debatable, but the facts are that her life story is the foundation for a best-selling book and now a high-profile movie.

Ms. Walls' memoir describes her unconventional childhood with bohemian parents who cared more for freedom and independence than for feeding their kids. Writer/Director Destin Daniel Cretton (a 'must-follow' filmmaker after his powerful 2013 indie gem SHORT TERM 12) chose this as his next project, co-wrote the screenplay with Andrew Lanham, and wisely opted to work again with Brie Larson, who stars as the oldest Jeannette (from late teens through adult).

The film bounces around in time from Jeannette's childhood in the 1960's and 1970's to her time as a New York gossip columnist in 1989. The timeline isn't all that bounces, as we watch this family of six, seemingly always on the run, ricochet across America with all their belongings strapped to the top of the battered station wagon – usually on the run from creditors or following the latest dream from Rex (Woody Harrelson).

Rex is the type of guy who rants against most everything that makes up what we know as society. He can't (or won't) hold a job and fills his trusting kids' heads with hopes and dreams of a better tomorrow - going as far as drawing up plans and specs for the off-the-grid fantasy home referenced in the title. Rex then spends what little money the dirt poor family has on drinking benders which cause him to become a nasty, abusive threat.

Rex's wife Rose (Naomi Watts) is a free-spirited artist who somehow possesses even fewer parental instincts than her husband. Although she could be labeled an enabler of his abusive ways, she might actually be the more interesting of the two, even if the story (and Jeannette) focuses much more on Rex. The best scene in the movie is when mother and grown daughter share a restaurant booth, and the two worlds collide.

Of course the real story here is how Jeanette managed to rise above this less-than-desirable childhood and achieve her own form of freedom as a writer. The stark contrast between the squalor of her West Virginia shack and the million dollar apartment she later shares with her fiancé (Max Greenfield) makes this the ultimate depiction of the American Dream – pulling yourself up by your bootstraps (even when you don't have boots).

The acting is stellar throughout. Mr. Harrelson could garner Oscar attention as he manages to capture both the dreamer and failure that was Rex. Ms. Watts maximizes her underwritten role and turns Rose into someone we believe we know and (at least partially) understand. Ms. Larson embodies both the desperation of a teenager whose environment forced her to be wise beyond her years, and the iciness of a grown-up trying so hard to leave the past behind. In just a few scenes, Robin Bartlett manages to create a memorable and horrific grandmother – one whose actions explain a great deal. The most remarkable performance of all, however, belongs to Ella Anderson (the only good thing about THE BOSS). She captures our hearts as the adolescent Jeannette – the closest thing to a parent this family had.

There are some similarities between this film and last year's expertly crafted CAPTAIN FANTASTIC. In fact, two of the young actors (Shree Crooks, Charlie Shotwell) from that film also appear in THE GLASS CASTLE. The biggest difference being that Viggo Mortensen's character could be considered to have an over-parenting approach, while Woody Harrelson's Rex never over-did anything, except drink and dream. The movie probably has a bit too much Hollywood gloss and sheen to adequately portray the hardships of a large family living in poverty, though the top notch acting keeps us glued to the screen. By the end, we can't help but wonder if some of Ms. Walls' romanticism of her father and past might be due as much to her immense writing talent as to her childhood challenges.