Lamb

LAMB is set in the Midwest and its conventions. A middle aged man, beset by adult challenges including the death of a parent, work and crumbling relationships, encounters a young girl whose home has provided no identity or value. The two go on a road trip deeper into the heart of the country and into unexpected inner places. LAMB is risky and challenging exploration of love, our need for it, the unusual places where we find it and the sacrifices it calls for. Oona Laurence as the young girl is superb and deserves consideration for a Best Actress award. The cinematography is evocative. Ross Partridge is to be commended for his integrity, courage and skill in bringing this story to the screen.

I'd like to start off by saying I found this movie by accident - I spent the first half thinking I was watching A24's 2021 movie by the same title. I'll admit, a lot of it was uncomfortable to watch. I was constantly waiting for the relationship between the two main characters to take a dark turn, but the friendship developed between the them was endearing & heartwarming to watch. Definitely a questionable plot, a little unrealistic, but nonetheless an enjoyable little film.

Ross Partridge directs and stars in "Lamb," a 2015 film following David Lamb (played by Ross Partridge), a man in his late forties who is quickly becoming aware of his disintegrating goodness. He encounters a girl named Tommie (played by Oona Lawrence). Though she's only eleven years old, David is aware that she is in danger of becoming just as defeated by life as he is. The two connect, and a friendship grows. In an effort to save Tommie from becoming just like him, David invites Tommie away from the city and into the country heartland he grew up in. What follows is a journey of self- discovery for both David and Tommie, culminating in an emotional bond that neither of them could have predicted.

The main character's choice to befriend an eleven year old girl is at the center of the film's controversy. The film pays a price for having a protagonist who crosses social sanctioned boundaries in trying to do the right thing, scaring off potential viewers. Partridge was very aware of this controversy, and the ethics of their relationship is one of the continuing topics within the film: Is David going to get in trouble for his behavior? Does he deserve to get in trouble? For the sake of not trying to force my perception of their relationship, I won't try too hard to persuade you one way or another.

It is important, however, to note that while Tommie and David are constantly thrown into circumstances that force them to confront the delicacy of their situation, their relationship never approaches a sexual nature. You needn't worry about David peeking at Tommie in the bathroom, or anything similar.

Ross Partridge and Oona Lawrence embody their characters so naturally. What they do here should barely be called acting. More like being. Partridge is given the complex task of having to convey deep confusion to the audience, but confidence when he's with his costar. Fortunately, he's able to pull this off and articulate David's personal journey at every stage with perfection. Despite her young age, Lawrence demonstrates remarkable acting in such a demanding role, conveying innocence and intelligence simultaneously. More impressive than the acting ability of either individual is the chemistry between the two leads. They aren't the only actors in the film, but still carry the film mostly between the two of them. Fortunately, they carry it just fine.

One element of the film that really surprised me was the cinematography, specifically the number of landscape shots. Even images of the city, which is supposed to represent a metaphorical prison for both characters, look tranquil. This form is consistent throughout the film as the background changes to hotel lobbies to the roadside to the country. These landscape shots were amplified by the music underscoring each scene.

The recurring piano score endowed the film with a sort of innocence, a hopefulness that neither of the protagonists have a surplus of. It's especially helpful early on as Tommie and David's relationship starts to bud. Probably the single best tool the film used to alleviate the uncertainty we feel toward David at the beginning.

Assuming he'd prefer viewers to not be drowned by David's unconventional behavior, I'd suggest to Partridge that he give increased cognizance of Tommie's sad home life to David. The easiest argument against David having ill intentions is that he was trying to save Tommie from wasting away in neglect, and even an unconventional intervention is better than no intervention at all. While we see that David is aware of Tommie's situation, further enunciating that Tommie would be worse off without him would make his actions much more understandable. This would have been much more helpful, not to mention economic, than David or Tommie intermittently commenting, "This is weird. He, he."

Lamb is bold in a way many films claim to be but seldom are. Not everyone is going to accept Partridge's direction, which is understandable. Lamb may be aggressive in how it breaks social norms, but in the wake of Partridge's loud experiment is a delicately crafted film. The liberation afforded to this movie allows for a very honest exploration of good intentions, redemption, and the nature of love, in the process creating a relationship that manages to be both powerful and tender. I'm not sure I've seen anything like it anywhere else in the film world. The closest I can think of would be Leon: The Professional. One thing is for sure, much like David and Tommie are changed by their adventure, you will never be the same after watching this film.

After reading some of the other reviews, it became clear to me that this movie hits a nerve for many. Our reactions are varied and emotional, ranging from disgust, panic and confusion to relief, respect and understanding.

I was intrigued, so I decided to watch it for myself.

A good reviewer will step aside from his own opinions and give the movie a fair shake from an objective point of view.

The real strength of the movie is that it pushes and breaks boundaries, which most of us adhere to. We generally believe that following these laws and moral norms will keep children safe, but the truth is that the world has never been safe. Just by living we all agree to this simple truth: life is dangerous.

The main protagonist, whose life is falling apart and who is slowly losing his grip, meets a young girl who is essentially being raised how he was. He deeply feels that this is a crime and decides that he will develop a relationship with her that, while wildly inappropriate and even illegal and dangerous, is beneficial to them both. As all relationships do, it takes a turn that both frightens and satisfies them, teaching them about love. Ultimately, it seems that they are soul mates who have found each other. The tragedy is that in this world they cannot be together, because in their current circumstances it was not healthy or safe for either of them. Note that the relationship was not sexual, it doesn't have to be.

This movie is well filmed and choreographed. The cinematography is bleak, accompanied by a soundtrack that is mostly atmospheric and moody.. and sometimes scary. All of this is designed to pull you into the hopelessness that both characters feel, while leaving you on the edge of your seat wondering what will happen next.

The film has two reasonably large flaws in my opinion: the writing and the direction.

The writing was mostly good, but deliberately obtuse. You are not supposed to completely understand what the character of David Lamb is thinking or planning. While we are supposed to think that David and Tommy's relationship develops from a deep understanding, I got the impression that Tommy was confused most of the time. When faced with David's constant deep observations about life, young Tommy seemed honestly dumbstruck. She seemed to take him on faith for most of the film.

As for the direction, the film draws on as a slow burner. What's happening next never seems to be a concern, because honestly it's fairly predictable. Aside from the question of Tommy's safety, there is little conflict to deal with. What really boggled me was the relationship that develops between the two characters. It starts off as a simple friendship, then develops into teacher/student, moves easily into father/daughter, and finally dives headlong into unrequited lovers. If I could complain about anything, I would say that the final relationship did not have enough screen time to be adequately explained. It just seemed to happen in a rush and was confusing to me.

Now then, The rest of my review is my opinion, feel free to read it or not.

Some other reviewers have written this movie off as a simple "defense of pedophilia." I don't see it that way.

I haven't lived long, but I've lived long enough to know that love is an inconsiderate thing. It can happen at the wrong time, in the wrong place, even with the wrong person. To make judgments on any other person's love is an arrogance I personally don't engage in. Can it happen between two people, even if one is a child and the other an adult? Of course it can. I won't say whether or not that love is true, it's not my place. I can only say that it is inappropriate given the circumstances. And when it comes to love, many would say circumstances be damned.

People who believe that love like this cannot exist between the young and old are completely on the wrong side of history. Relationships between very young and very old people have happened time and time again for generations. Our particular norms for the treatment of children are a very recent inventions, while we mostly agree that they are good things, they are not always right in every single case.

Deal with it.

David(Ross Partridge) is a forty seven year old man who has just lost his father and divorced his wife and seems on the verge of a nervous break down. After burying his father, he meets an eleven year old girl, Tommie(Oona Laurence) at a parking lot, where, somehow, they connect. Thus begins a strange journey, where the two relate on an emotional level. David takes Tommie on a road trip to a desolate cabin in the mountains while searching for some meaning to his life. Tommie is an outcast with indifferent parents. The writer of the novel, Lamb, Bonnie Nadzam, claims to never have read Lolita, which was also adapted for the screen in 1962 by Stanley Kubrick. The themes are similar, but Lolita's protagonist, played by the precocious and self assured fifteen year old Sue Lyon, is a million miles apart from the innocent eleven year old Oona Laurence. Though at times unsettling, Lamb never veers into Lolita's explicitly sexual territory. Partridge and Laurence are riveting together and I look forward to see what the young actress does next. Lamb is a solid 8/10.