O Doce Amanhã

When it comes to drama, The Sweet Hereafter represents the finest cinema of the decade. The film lifts the director Atom Egoyan to the highest place of Canadian directors -right next to David Cronenberg. With extraordinary intelligence, Egoyan -the maker of "Exotica"- creates labyrinths of relationships. Brilliantly using flashbacks the director reveals the emotions of the characters to the viewers -a powerful way to make the audience feel anxiety.

The Sweet Hereafter is based on a novel by Russell Banks. This doesn't mean that Egoyan hasn't created a film that looks like his own creation. Very beautifully, even with a sense of poetry, the camera moves in a canadian small-town, a scenery full of snow. The nicely unusual music of Mychael Danna creates the mood when a lawyer played by Ian Holm arrives to the town. A School bus lies under ice, and the lawyer is invited to sue someone for the loss of several children.

A very important slice of the scenario belongs to a school girl (Sarah Polley), who realizes that the grief of loss can't be eased by judging the cause of it. Also the other people of the town play a remarkable role in the script.

Egoyan speaks clearly, but with a sound of personality, about the need of love, the pain of loneliness and the crossing of emotional obstacles. Fortunately someone knows how to direct interesting movies with elements of drama in them. The Sweet Hereafter possesses a brilliant structure where the visual telling breaths in the spirit of symbolism. I'm a very demanding viewer, a true cynic who always tries to find the worst sides of the film, but in this case I can't say anything negative.

Atom Egoyan's, The Sweet Hereafter is a film about loss and recovery. An accident involving a school bus in snowy Canadian roads has left a small town devastated which left many children dead.

The grieving parents are visited by a no win no fee lawyer, Mitchell Stevens (Ian Holm.) He is a partner in a law firm and he might be just doing his job but it seems to be without much vigour or conviction. I am not sure whether money is even a motivation for him. Stevens own daughter is a drug addict who only contacts him when she wants money for more drugs. Apart from that she hates him and he knows he has lost her.

He persuades some of the parents to file a class action lawsuit by claiming the design or construction of the bus was faulty.

The grieving parents and some of the survivors all have some secret. Did bus driver Dolores Driscoll (Gabrielle Rose) drive too fast or drive carelessly given the road conditions? Does Nicole Burnell (Sarah Polly) one of the kids paralysed below the waist might want to take revenge on her abusive father?

One of the parent, Billy (Bruce Greenwood) who was following the bus and waving at his children is against the lawsuit and wants the others to drop it.

The film does not start with the crash. It is told in non chronological order and we have several story strands. one of them is the use of 'The Pied Piper of Hamelin' which draws parallels of a town suffering from the loss of its children. Maybe Stevens will lead the townsfolk out of the darkness but he is suffering as well when he recounts his struggle with his drug addict daughter to one of her old friends he meets in a plane journey.

The film is about grief, sadness and the tortuous journey to recovery. Unfortunately the film does not always flow well and although I understand why some people would want to sue for damages, I never really understood why Billy did not want to sue? Nicole is paralysed, money would be useful to her and help her.

... of not knowing what's behind closed doors, that leads us to hope nothing other than normal is going on behind them - whatever normal is. In this case no optimism, which I don't think is normal, there's always optimism, there's always a shade of hope, whether you choose to grab hold of it or not.

You could take a bus full of school children on any given day, in any part of the world, and observe the chaos that results after an appalling accident similar to the one presented here - but few outcomes would be the same after the despair, loss, rage and anger have subsided, and nobody would suggest it was fate. It is however, a beautifully performed picture, it leaves you reflective and thoughtful about the lives of the characters, how they became who they are and what they will become as a result. I don't buy the loss as a metaphor for the loss of the nostalgic view of the childhood of yesteryear either - that metaphor should be a celebration of opportunity. I would not want to curse myself with the childhood of my parents or similarly do the same to my own children.

I re-watched The Sweet Hereafter on video last night, and am still haunted by it today. It is structured so that you know some of the basic tragic plot near the beginning. This caused my eyes to water at some of the beautiful lyrical overhead tracking shots of the school bus winding through the snow covered roads of the Pacific northwest.

The film switches between the time that the lawyer arrives in town to "help" the families receive compensation, and to days just prior to the accident. We witness a loving "hippie" couple who has adopted a beautiful Native American boy, a loving mother of a school phobic learning disabled boy, and a widower who loves his two children a great deal and sees them off to school by following them in his truck. This same widower is having an affair with the mother of the school phobic--she is unhappily married to a "pig" of a husband. Complicating matters is the father who obviously loves his teenage daughter in Lolita-like fashion.

Part of the theme of The Sweet Hereafter is similar to Magnolia--accidents do happen--perhaps no one at fault... or perhaps all the adults had some part in it without anyone being at fault, as only the innocent children were killed.

The town had changed... tragedy has taken away the town's joy and innocence. The parents are no longer open with each other, but guarded, suspicious... in deep grief.

The lawyer is little more than an ambulance chaser, attempting to profit off their tragedy. Yet, he, too is a tragic figure who has already "lost" his daughter--

He had saved her when she was a baby, yet she has now turned away from him... and his feelings are now ambivalent towards her--he is a grief-stricken, defeated father, who vascillates between wanting to talk with his daughter on his cell phone and deciding to cut her off.

The story of the Pied Piper is interweaved between various events in the movie to give greater depth to the story. There's also a great scene in the movie between the lawyer and the garage mechanic, who has lost his two children, that shows that the theme is much broader than the literal story:

"I'm telling you this because... we've all lost our children, Mr. Ansel. They're dead to us. They kill each other in the streets. They wander comatose in shopping malls. They're paralyzed in front of televisions. Something terrible has happened that's taken our children away. It's too late. They're gone."

This movie isn't for everyone. It's a serious, layered piece with a lot of melancholy. The kind of fare that film critics can love, but Academy voters will avoid. But what it strives to accomplish is done very well. And it will stay with you long after the final scenes have appeared.

I've seen this film twice now, and had the same reaction both times, so it's not out of gut reaction that I label "The Sweet Hereafer" an odious piece of simple-minded garbage.

The central idea (a school bus crash) has such intrinsic emotional repercussions that I can see how most viewers are washed away in grief enough to not notice the emptiness of the conceit built around it.

As an intruding lawyer, Ian Holm is asked to give a performance of staggeringly self-conscious falseness in which his every word, movement and breath is meant to project "SOMETHING IMPORTANT". His episodic encounters with the people of the community in which the accident took place only reveals Egoyan's total condescension toward life's "little people", presenting them as simpletons who, gosh darn it, love their children and each other and turn their noses up at anything so disgusting as a dollar bill.

In a failed attempt to make at least one character two-dimensional, a subplot is slopped on about the lawyer losing touch with his own child, the most ridiculous drug-addicted banshee every put on film.

Toss in heavy-handed allegories, heart-tugging muzak and trite conclusions, and what have you got? An award-winning "masterpiece", to hear most people talk. More likely they woke up the next morning, remembered something about angelic children heading for their final bus ride, and forgot the manipulative banality of the rest.

View the first episode of Krzysztof Kieslowski's 1988 "Decalogue", which covers similar thematic ground and, in 50 short minutes, accomplishes worlds more.

3 out of 10 for nice work by actors Bruce Greenwood and Sarah Polley.