Brother's Keeper

This incursion into the private lives of rural people that turn public by exposition in the media had an eerie effect on me. It was a subjective reaction to a real story that has nothing sinister about it, but I was deeply distressed and somehow frightened by the realization of how some people still live isolated from the world, and in unhealthy conditions, while at the same time being in touch with a community that finds them eccentric but is ignorant of their dysfunctionality. The disturbing story of the four Ward brothers, farmers who lived like hermits in a shack until old age, is material for a Gothic novel or a psychological thriller. When one brother dies in 1990, and his younger brother Delbert is arrested for murder, the "Munnsville horror" begins, manipulated by the media while the community defends the accused. For their opera prima, directors Berlinger and Sinofsky spent more than a year with the case. The result was highly rewarding.

In a simple way this is just an "us and them" story, with the hardworking small town folk being treated like buffoons by the big, mean, well-groomed city justice people. But Berlinger and Sinofsky are far more talented than that, and their film ends up being one of the most human films I've ever seen in terms of their generosity to their subjects. It's generous because they don't put their views into the film, they don't decide how we should view the allegations, but at the same time don't restrict themselves from becoming somewhat involved in these brothers' lives.

At first we're inclined to look down on these brothers -- they rarely bathe, they're not educated, they can hardly hear what the documentarians say to them. They're completely unselfconscious. Our natural reaction is to place ourselves above them. But the filmmakers' greatness is in how within about half an hour we find ourselves connected to them as equals. In fact, we notice how philosophical they can be, maybe without realizing it -- without being treated like simpleminded saints. The directors give us a view of the townspeople, too, the Ward brother supporters, many of which are quite articulate themselves. (One elderly gentleman, a hard man from the outside, is surprisingly forward-thinking, when it's speculated that the brothers may have had an incestuous relationship, and he uses the word "gay" rather than the expected offensive term, and refers to the justice people as "narrow minded," and how whatever kind of relationship the bothers had, sexual or not, it should not have any bearing on the case.) There's one startling description of the brothers' love for one another, that if indeed one of the brothers did kill the other, it was in the same way he would have killed a sick and dying cow, paralyzed after giving birth. (There's one horrifying scene where a pig is killed that isn't quite as lovely.)

The communal, familial way in which the filmmakers interact with the brothers is exactly the same way these townspeople interact with one another. The construction of the film is just perfect for the entire film. It's uncomfortable without being cruel, it's friendly without being cloying, it's dark and disturbing without seeming phony. When joyful fiddle music plays after a scene, it's never mocking the way it would be in another film. (And one of the greatest scenes in the film is an image of a ragged man with his cows, and some very, very haunting violin music by Jay Ungar and Molly Mason, whose entire score is outstanding, and anticipates "Fargo.") When the trial takes place, we're implicated because we don't know the truth. By this point we're so invested in these brothers that when one of them is on the bench, shaking and terrified from nervousness -- these brothers just don't have this kind of human contact -- the filmmakers have completely earned our tears. It's not a sentimental moment, it's as horrifying as the scene of the pig being killed. You feel as if the judicial system is raping this man of his dignity. This is a masterpiece. 10/10

This film was not made to be entertaining, as far as I can tell. That is not an indictment of the film; it is an indictment of the biggest reason people go to see films.

As I watched this film, I was transported into another place. I presume that place is where the filmmakers wanted me to go. It was not a "fun" or "exciting" place. It was simply a place where I could be and feel otherwise than I am and do right now.

I live within bicycle riding distance of the location of the events in this film, yet I got closer than I ever will to them through the craftsmanship of the filmmakers.

The music, the imagery, and the way the story was presented combined to provide me with a notable experience. This story is now part of me.

Thanks to the filmmakers.

From the opening quote from the Book of Genesis about Cain rising up and smiting Abel to the very end sequence, this is not an easy film to watch.

The story of the Ward Brothers in rural New York received national media attention.

Adelbert (Delbert) Ward was accused of murdering his brother William. Questions of euthanasia, incest and just being tired of William's needs are brought up.

But the question arises: Was he railroaded by a legal system looking for an easy answer and a prosecuting attorney up for re-election?

The abject terror of Lymon Ward when he was on the stand is sickening and horrifying to watch.

The townspeople that rally around Delbert and raise the money for his bail in about 20 minutes, even though they have little to spare themselves and don't really know the reclusive Ward brothers is more than just heartwarming -- it is astounding.

The "Boys" (as the townspeople call the Ward brothers)are not really particularly liked by the townspeople who see them as strange, dirty and retarded.

But, whatever they may be they are THEIR strange, dirty and retarded fellow townspeople.

It is not fair to tell you how this movie ends -- you will simply have to see it for yourself.

Once in a while I find a documentary film that I can really sink my teeth into. Brother's Keeper is one of those films. Produced and directed by Joe Burlinger and Bruce Sinofsky, this film documents the murder accusation and trial of Delbert Ward. Ward had been accused of the mercy killing of his older brother and roommate who lived in a shack with him and his other two brothers.

The film sheds light onto a small segment of society in central New York state. The brothers worked a farm and lived in the poorest of conditions. None of them were educated and were mainly illiterate. The defense of Delbert would focus on the possible coercion of a confession and Delbert's illiteracy would be at issue. Other factors would include a number of forensic details that were disagreed upon amongst professionals.

Part of the amazing nature of the film is the sudden upwelling of support for Delbert and his brothers from the small farming community he lived in. Despite being seen as outsiders the Ward brothers gained the financial and moral support of a community who didn't believe that one of these men could kill their brother.

The success of this documentary comes from several things. The editing is the first major piece since it makes this documentary flow well. Secondly, the interviews with the people on both sides adds to the credibility. The District Attorney and the defense attorney are both interviewed as well as people from all over the town. The trial footage also gives a great look at the testimony of medical experts.

Finally, the three brothers were all interviewed. Their interviews add weight to the innocence claims of Delbert. It's also amazing to see the interaction they have in their dilapidated farmhouse where they're cut off from the world.

I would suggest this film for anyone. The film is a unique look at the justice system, small community life, and illiteracy. I would give this 3.2 out of 5 stars.