Casa de Areia e Névoa

We are told that Kathy Nicolo lost her house through no fault of her own, but she didn't open the communications from the county and she let the house fall into a deplorable state when she lost her husband. Her knight in shining armor planted drugs on a wife beater knowing that was the only way to get him in jail where he belonged. He constantly drinks in front of a recovering alcoholic. When he, let's say eases her into drinking again (yes, her own decision) that's when he beds her, before telling his wife of many years and mother of his children what's up. BUT, he does come to Kathy's aid, and immediately, in many ways. Colonel Massoud Amir Behrani was part of the Shah of Iran's war machine, buying fighter planes from Boeing. When he comes to America he keeps a prejudice and communicates it to his son, saying, "Americans don't deserve what they have, they are children," this though he insists he is an American citizen. He doesn't care that he bought his house through a governmental error that displaced the owner into homelessness, but once he understands how emotionally invested she is in the house it doesn't take him more than a beat to regret his decision to stand fast in his attempt to make four times his investment. They are all faulty human beings who are also jewels. They try. The acting is the jewel in this movie, by both leads.

First of all, anyone who says that s/he didn't "get the point of this movie" needs to go back to watching movies produced solely by Jerry Brukheimer because the point could not be more apparent to anyone of any intelligence. House of Sand and Fog is a commentary on the cultural gap between American-born citizens and immigrants from war-ridden countries such as Iran. Unfortunately that gap is shown for what it is: wider than ever.

The character of Kathy is portrayed brilliantly by Jennifer Connelly as an emotionally unstable young woman caught up in the turmoil of losing both her husband and her family's home within eight months of each other. Kathy ignorantly fails to realize that the house her dead father has left her brother and her is in jeopardy of being put up for auction due to unpaid taxes. Kathy comprehends, too late, that the thirty years it took her father to pay off their home has been in vain when it is sold to an Iranian family shortly after auction. Her character is pinned against Ben Kingsley's Colonel Behrani when Behrani buys Kathy's auctioned house in order to return his own family to a sense of stability. The audience is conflicted by its empathy for both character's need to satisfy his and her own pride in family and the preservation of his and her heritage.

The catalyst for the two characters' conflict with each other is drawn from the supporting character of Officer Lester (Ron Eldard), a representation of the ignorance and lack of empathy some Americans feel towards people whose lives have led them to seek better ones in the United States. While Behrani's main motive is to protect his family and give it a sense of security, Lester puts his own selfish pleasures before the wellbeing of his own family. Behrani and Lester are complete opposites, Behrani clearly the nobler. It is clear why Kingsley chose to do this role: Kingsley's portrayal of an Iranian refugee is both superb and honest, not to mention Oscar-worthy. The film shows that there are greater sacrifices in this world than those materialistic in nature. Ironically many Americans might find that point hard to absorb, probably the reason why they are so quick to write off House of Sand and Fog as "one of the worst movies" they have ever seen. House of Sand and Fog is a film, not a movie. Those who give this film a thumbs down need to get a dictionary and distinguish the difference between the two terms. Andre Dubus III's novel has been done justice. Thumbs up.

In a tragedy that only the likes of Sophocles or Shakespeare could recreate, the film House of Sand and Fog proves that some dreams really can't be shared. The American dream is shattered for Colonel Behrani and Kathy Nicolo in this movie of devastating beauty. It is a film about the relentless struggle between an Iranian man and a post-alcoholic over a small house near a Californian beach. When Kathy loses her house due to county error, Behrani buys it for the sake of money and self-pride. Their worlds clash when they realize there is no perfect solution to this mistake, ending with a shockingly tragic twist. The acting put forth in this film was nothing less of amazing. Ben Kinglsey, as always, played his role as if he was really in it, really showing us his point of view and displaying his need for the house. Jennifer Connely played her role beautifully as well, showing the inward spiral she was facing and how her depression finally took her over. The story was nearly flawless with a few money and law errors. However, the tragic themes of the film ring through nonetheless. With a little less than a superior performance from Ron Eldard, the film still had wonderful acting and brilliant film technique. Based on the best-selling novel by Andre Dubus III, director Vadim Perelman does an incredible job of staying true to the novel, and using a few Russian film techniques to give a sense of emotion. This type of film truly will tug at your heart and bring tears, yet will give a sense of appreciation for the human life.

Since antiquity, tragedy has been regarded as the highest and most important form of drama for its ability to arouse the deepest sense of pathos and empathy from its audience.

Remind yourself of this if you choose to watch 'House of Sand and Fog.' I can state emphatically that 'House' is one of the most artfully directed and acted films of the last five years, but make no mistake: it is a tragedy, and only the hardest and most jaded of hearts will emerge from the experience undisturbed. It is a dissertation on sorrow, and while I'm glad I saw it, I can't say I had a whole lot of fun.

'House' was directed by newcomer Vadim Perelman, who also adapted the screenplay from the acclaimed novel by Andre Dubus III. Perelman tweaks the story in some respects but is ultimately faithful to the novel's style and sensibility. As in the novel, the story is filtered through alternating perspectives, the foremost of which are Behrani (Ben Kingsley), a Persian ex-pat and a former high-ranking officer under the Shah in Iran, and Kathy Lazaro (Jennifer Connelly), a severely depressed recovering alcoholic tenuously holding onto sobriety but nevertheless gradually self-destructing after the collapse of her marriage.

The two characters are drawn together, appropriately enough, by the house of the title, a small but elegant coastal property in fictional Pacific County, California (the novel sets the house in Malibu). The house belongs to Kathy, who inherited it (along with her older brother, who lives elsewhere) from her deceased father. Kathy has become a victim of a bureaucratic snafu--she has been erroneously charged with delinquency on taxes for a non-existent business--but due to her textbook depressive refusal to open and answer her mail, she wakes up one morning to find that the county has evicted her and put her property up for auction.

Enter Colonel Behrani, a regal man of aristocratic bearing whose ruthless determination to maintain the standard of living his family has always been accustomed to is simultaneously honorable and pathetic. Behrani is the story's tragic hero in the classical sense. Behrani has been saving and shrewdly watching the classified ads waiting for a chance to snap up a foreclosure at a cut rate price, make modest renovations, and then resell the property at peak market value in order to acquire a six-figure nest-egg to fund his son's education and improve his family's future prospects in the US. Fortuitously, the house he buys at auction--Kathy's house--is a coastal property bearing some resemblance to his former home on the Caspian Sea, back before his family fled Iran. The house is seen in an early flashback, an eerie montage wherein a younger Behrani in full-dress service uniform observes as a row of enormous trees are severed at the trunk so that the sea will be visible from the balcony where he stands.

To elaborate the plot further would be too revealing, so I'll simply say that the lead performances in this film are sublime. I didn't think at first that I'd be able to believe the stunningly beautiful Jennifer Connelly as Kathy, a woman who redefines the term 'self-destructive,' and yet Connelly manages once again as she did in 'A Beautiful Mind' to prove that her talent and skill match or even exceed the looks. It really goes without saying that Ben Kingsley's Behrani is a stunning performance--Kingsley is a mesmerizingly charismatic screen presence and a chameleonic character actor; few actors in the history of film have been able to so convincingly disappear into their characters while projecting such a distinctive, distinguished persona. Both actors master these demanding roles such that the audience feels a broad scope of contradictory and ambiguous emotions towards their characters; neither is completely sympathetic nor despicable, and though in the Aristotelian sense Behrani is the story's tragic hero, it's resolution remains ambiguous, as does the ultimate responsibility for the tragic denouement.

The direction of the film has its occasional hitches, but many of Vadim Perelman's shots are brilliantly captivating. The Northern California coastline is exploited to maximum effect, and Perelman offers numerous shots and angles of seamless appeal--they are original and engaging without feeling forced or consciously 'film-schoolish.' It's quite a beautiful movie to look at, from the meticulous arrangement of the Behrani's luxurious furniture and decorations to the patience with which Perelman lets his actors' nuanced facial expressions and physical gestures unfold the depths of their characters.

I have some slight reservation about recommending the film simply because its tragedy is so unmerciful. And there are moments where you may find yourself exasperated with the characters and unwilling to maintain your sympathy for them. Personally, I think it's worth a look for the quality of the performances alone. It's also quite original and distinctive in style. It's devastatingly sad, however, and so should be reserved for appropriate moods.

Movie It's a great movie, without a doubt, a strong and intelligent offering with some of the strongest and most heartfelt performances I've seen for a long time. Jennifer Connelly is stunning, and I don't just mean in looks, her acting is amazing and is picked up on the audio commentary again and again. One scene early on requires her to shed a single tear while talking quite normally on the phone, as if on queue it drops. You can hardly believe someone could give such a heart wrenchingly emotional and confused performance as this and manage to retain a normal life, watching her you believe that she is in a downward spiral of depression and self destruction. A totally believable and emotionally charged performance.

Ben Kingsley also gives a great performance, although not so outwardly recognisable in emotion, it's only really until you watch the audio commentary and listen to the praise given by the Director and author that you realise how subtle and exacting his performance is. His character is defined by strength, beliefs and pride, and Kingsley gives an excellent performance, Shakespearean in stature.

The film itself is emotionally draining, and you feel you're being taken on that roller-coaster drop along with Connelly's character, but don't for a second think that you shouldn't see it for those reasons, it's a journey that is superbly rewarding as a movie and an education in the miscommunication of people. Particularly people of different cultures.

As the movie progresses and the events step further and further down towards their tragic conclusion, the characters become more and more complex. Starting as simple, pigeon holed characters that you've seen before, they soon become more real and pull you into the movie, wrapping you up in them. They become utterly engaging and you totally disengage from life around you.

There's a strong supporting cast, although the performance from Jonathan Ahdout is not too convincing, those around them are, I think a particular mention is required to Shohreh Aghdashloo who provides an emotional balance for the coldness of Kingsley's character and an emotional mirror to the devastation of Connelly's character.

Two things are mentioned in the audio commentary that I didn't really pick up on until then, but retrospectively you realise these contribute greatly to making it a great movie. The first is the subtlety, there are many images and scenes without words that you don't truly appreciate until a second viewing, or a very careful first one. The second is the way that Kinglsey praises the Director's style of never telling the audience what did happen and is going to happen, events just occur. For instance the breaking of the marriage of Ron Eldard, where there is no explanation given, it's just happened. This has the effect of treating the audience with respect and realising that they have intelligence, and it also makes for an excellent way of keeping the pace of the movie.

Picture Presented: The picture is crisp and sharp, a superb use of lighting in the movie moving from the bright opening beginning of the story it darkens through time to the bleak and dismal closing scenes. The light is always warm and inviting, with any artificial light looking sterile, and the darker shots bleak and dismal. Some of the time lapse shots between scenes are beautiful.

Audio Presented: The audio is very good, although there is nothing to really take advantage of a surrounding speaker system, the sound is kept sparse and atmospheric, with an extremely subtle and limited soundtrack it gives everything to the movie and never distracts.

Extras Presented: What strikes you about this DVD are the beautiful animated menus, black and white shots from through the movie fill the background giving you the feeling of mystery and indeed sadness.

The Deleted Scenes are good, although alongside they have a dull and very annoying commentary. Rather than talking about the scene and giving some insights you are treated to noises of laughter, snorting and approval interspersed with over the top bouts of backslapping. Awful, before it's over you're dreading the onset of the audio commentary. The Behind the Scenes is good, but nothing new.

The Photo Gallery is very well done as it's not a gallery at all, it's a featurette that is filled with stills between interviews with people talking about actors, characters and key scenes. It's a very engaging way of creating a gallery. Another huge extra is the Shohreh Aghdashloo Audition, it's truly amazing to see this actress work through some very emotionally harrowing scenes one after the other right in front of your eyes, it gives you a superb grounding in what it really means to be an actor and auditioning. With this performance it's hardly surprising she gained the role.

Finally there is the Audio Commentary, and after the pathetic commentary on the deleted scenes I was really concerned. However the backslapping was slightly subdued for the full commentary, still very evident but much more bearable due to the amount of information that was given about the story, filming and the actors themselves. Combining Kingsley, Vadim Perelman and Andre Dubus III, you are treated to a really wide view from story conception through development, filming, acting and ultimately post production. I really enjoyed this insightful commentary, although bordering on the crawling at parts, it gave you a lot more about the movie and the story. It also provides an interesting look at the actors and their methods.

Overall The movie is superb and firmly fixes itself in the realms of classic tragedy. The acting from both leads is stunning, particularly Connelly, and the supporting cast provide strong backing. Powerful, emotional and at times quite harrowing, this is superb entertainment and a movie deserving far more recognition than it did, again particularly for Connelly.