Provocação

"The Door in the Floor" may be one of the best movies so far this year. It offers a moving experience and memorable characters that you will not soon forget.

The story is an adaptation of the best-selling novel, "A Widow for One Year" by John Irving (who also wrote "The World According to Garp" and "The Cider House Rules"). I haven't read the book, but the screenplay by writer/director Tod Williams is so good that it's hard to imagine that it doesn't do justice to its source. (Apparently, the book spans many decades in the life of this family; that's certainly a different approach than what is presented in the film.) Applause to Tod again for his brilliant direction in which he obtains sensitive, extraordinary performances from the sterling cast.

Jeff Bridges is sublime as Ted Cole, a children's book author. His character dominates the plot and it's an Academy Award level portrayal. Bridges only gets better with time, and he is at the top of his form here. In a more understated, introspective role, Kim Basinger plays Ted's wife, Marion Cole. It's another performance deserving of Academy Award notice. Basinger's beauty is only exceeded by the depth of her acting ability. Elle Fanning, younger sister of the talented ten-year-old Dakota Fanning ("I Am Sam", "The Cat in the Hat", "Man on Fire") is an amazing, natural talent as young Ruth, daughter of Ted and Marion.

Jon Foster plays teenaged Eddie O'Hare in yet another superlative job of acting in this movie. Mimi Rogers supports well as Mrs. Vaughn. Her filmography notes she was born in January 1956, which makes her 48 years old. Few actresses would have the ability to play this movie role. She appears in a tense scene, fully nude, and filmed from every angle while she is revolved on a life model's turntable. Wow! More power to her!

"The Door in the Floor" title comes from one of Ted's children's books. We hear the story as Ted does a reading before a local audience. It is clear from the outset that the Cole family is in a state of severe distress, which relates to earlier losses of two sons. Writer/director Tod Williams is masterful in carrying the audience through the gradual and painful exposition of what happened to the couple's children, Tommy and Timothy.

Pleased be aware that all of the principals (except Ruthie) are seen in various stages of nudity in this film -- front, side, back and on top of one another. Everything is shown with great subtlety and sensitivity within the delicate context of the film. There was certainly no prurient interest in any of it. All of the nude scenes are handled in a realistic and matter-of-fact way. For example, little Ruthie sees her father naked, which some viewers may find objectionable, but which certainly works within the context of this film.

This is a movie for all seasons. It's still early in the year and we can only hope that "The Door in the Floor," with its wonderful script, direction, editing, and acting, will still be remembered as we approach nominations for the best films at the end of the year. Go out of your way to see this A++ accomplishment.

I spent the first half of this movie utterly despising it, but in the end I admit it's a good movie. If you're not easily offended.

The story revolves around the extremely dysfunctional marriage (and not in a funny way either) between a couple surviving the wreckage of a tragedy. A writer (Jeff Bridges) and his often catatonically depressed wife (Kim Basinger) are failing miserably at raising their young child (Elle Fanning). Failing miserably is the understatement of the year. Their actions border on child abuse including overt extramarital affairs, leaving the bedroom door wide open so that their 4-year-old daughter witnesses sex doggie style, leaving her unattended or generally ignored much of the time resulting in serious accidents, and (although this is debatable depending on how open you are with your kids) walking around butt naked. Oh, maybe I should mention that one of them commits statutory rape. 60 times.

If you can get past that, you're in the clear.

You soon realize, or should soon realize, that this is the story of some individuals who are using tragedy to excuse their selfishness while obliviously wreaking havoc on a small child's mind. And that is the central theme of the film and the key to understanding the cryptic reference of the title "The Door in the Floor".

As you can see, this is a very challenging and possibly controversial story. In that respect it reminds me of the Terry Gilliam film "Tideland" which revolves around a 30-year-old man's relationship with a pre-teen girl; the audience is supposed to be disturbed, and yet we are supposed to dig deeper past the shock to understand the meaning.

So if you watch this movie, don't spend your time trying to figure out who's the "good guy" like I did, or you'll find yourself hating the experience. Instead take it for what it is: the story of some very flawed individuals stumbling through life the only way they know how.

Due to the extremely awkward sexual situations, I do NOT recommend this as a date movie, a romantic evening with your hubby/wife, and for the love of Moses do NOT watch this movie with your kids. Or your parents.

'The Door in the Floor' happens to be based on John Irving's 'Widow For A Year'. I like most of his work and they are sort of set in a strange world where the main characters are in search for something. 'The Door In The Floor' falls on the same line. It essentially shows two characters, Ted and Marion, going through a chronic grieving process which they both experience differently. While Ted is still somewhat in touch with the world (finding things (e.g. affair with models, building a pool) to keep himself distracted) albeit very loosely as is evident in his disheveled and neglected lifestyle, Marion has lost all her feelings except that of grief. Then there are two other characters who are in search of something. Their daughter Ruth is trying to find her way in her mother's lost world and her way around the house coming to terms with her family loss in her own childly way. There's Eddie who's a fan of Ted and himself aspires to be a writer but he too is looking for something.

Tod Williams presents some wonderful visuals. The feeling of loss and loneliness is well created. For example, with the use of weather where the overcast sky adds to the silent cry of the characters. Yet, there's a sense of humour (typical Irving style humour) that appears at the right moment. The cinematography, especially the close-ups and zooming are well done. The score is whimsical but rightfully gentle.

Both Jeff Bridges and Kim Basinger give beautifully skilled subtle performances. Bridges portrays Ted's loss of focus brilliantly yet he also effectively manages to portray him as a loving father. Basinger steals the show. I remember one particular scene that is among the finest examples of understated acting. It's the scene where Eddie confronts her about her sons' death and then we witness her expression change very slowly while remaining silent. Jon Foster is confident in his role and holds his own with the veteran co-stars. Elle Fanning is okay even though at times appears to be too much of a chatterbox. Mimi Rogers does a fine job of playing the neurotic model.

'The Door In The Floor' is not one that would appeal to everyone because the 'point' isn't directly obvious but it's a story well told and a film well made and at the end one does feel a sense of satisfaction as the characters finally take a step forward.

This well-acted tragedy pulls us through an exploration of the complexities of love in both the darkest and brightest corridors. Adapted from John Irving's best-selling novel, `A Widow For One Year', the film carefully weaves its way through the painful and tragic aftermath of a deadly accident, alternating between comedy and disaster.

The setting is in the privileged beach community of East Hampton on Long Island, New York where our hero, a children's book author, Ted Cole (Jeff Bridges) resides with his beautiful wife Marion (Kim Bassinger). Once upon a time, they had a happy marriage until the bliss was shattered by the accidental death of their two sons. The aftermath resulted in a general despondency and bizarre infidelities that did little to assuage the pain and dysfunction of their deteriorating relationship. The remnants of a once great love are hinted at in almost every scene, although alas are clouded over by their inability to regroup to face the future and put away the past.

Eddie O'Hare, (Jon Foster) the college junior Ted hired to work as his summer assistant and protégé, becomes the couple's unwitting, yet willing pawn, who ultimately evolves into the catalyst in the transformation of their bitter lives. Ted's recent children's book, `The Door In The Floor' in due course becomes the surviving metaphor for transforming their lives.

The evolving story seems to beg for something really horrific to happen, yet offers a kind of relief when this fear is unrealized. One senses that if this couple had only handled their loss differently, a far better result would have followed. It is also a poignant tale of a young boy's rite of passage becoming a man and another man sinking into an emotional immaturity and then hopefully climbing back out.

Directed and written by Tod Williams, this tale is quite apart from the usual Hollywood drivel that may leave you mired in an introspective quandary for quite some time.

I say surprise because I had never heard of this film until it popped up on a UK satellite channel recently. Like so many other 'smaller' films from across the world, I suspect it never achieved significant cinema release in the UK. This is a real quality film in all departments, the story, the direction, the acting, the location, everything. Bridges confirms his status as one of the most interesting actors of his generation, not only because his laconic style and obvious craft are always a pleasure to watch but because he has this knack (or intelligence and skill) to select material that is never less than good and occasionally excellent. Kim Basinger continues to grow more interesting and watchable with age and the other cast members are professional, discreet – they can act! Each to their own I know but for me, this film represents the best that American cinema can produce and equal to anything from anywhere is the world. A delight for the film-goer that has a mature outlook and enjoys seeing stories about human drama, no guns, no CGI special effects, just good honest quality. If you have the chance to see it, I recommend this film highly.