Lignes de vie

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.

"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.

'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.

Spoilers

A few days after watching the movie and reading an assortment of reviews from IMDb, local magazines, New York Times to Ebert, I still have not made up my mind how seriously I should take this one.

The two names alone, Jeff Bridges and Kim Basinger, should make any serious moviegoers sit up and take note. As well, the subject matter itself is not something to be taken lightly, the tragic loss of children and the devastating aftermath to the parents. (Two films dealing with this subject matter immediately come to mind, Moonlight Mile and In the Bedroom, both quite 'serious' in a sense, particularly the latter). The movie losses no time in coming directly to the point, in a scene where the silent gloom freezes the air, with children books author Ted (Bridges) suggesting to Marion (Basinger) that they should have a trial separation. However, as the events unfold, it seems as if the moviemakers are worried that the audience wouldn't be able to take this heavy stuff, and start to lead us through a maze of eccentricities that almost become noire.

The catalyst is 16-year-old writing student Eddie (Jon Foster) hired by Ted as a summer apprentice. It soon becomes quite evident that Ted has little intention to get Eddie involved in literary pursuits, but wants him rather as a chauffeur (Ted has lost his own license through drunk driving charges) and maybe also as a backup baby sitter for little Ruth (Elle Fanning). (A deeper reason for choosing Eddie was revealed much later). A little reminiscent of The Graduate, Marion's seduction of Eddie is however handled with much more gentleness and even some comic relief. Meanwhile, Ted's licentious relationship with a neighbour becomes noir-ish as we see him chased around the swimming pool by her with a butcher knife.

The 'hook' in the movie is the delay in revealing to the audience the details of the tragic events that led to the death of the couple's two sons (one of whom looked remarkably like Eddie). The revelation, when it comes, isn't exactly earth shattering, but does serve to give the strained relationship between Ted and Marion another dimension. And we will recall that throughout the movie, we see very little of direct interaction between them. After Eddie's arrival they seem to be communicating through him.

Bridges and Basinger are definitely the reasons for watching this movie. From underneath the eccentricity of Ted and the sensuality of Marion, Bridges and Basinger portray beautifully the depth of helplessness of these two characters. Little known Jon Foster is perfectly cast to bring out convincingly the innocence of Eddie. Little Elle Fanning ably demonstrates the family acting tradition. I noticed from her filmography that she played the 2-year-old stage of the character her sister Dakota played in I Am Sam.

This is a must see. As a jaded New Yorker, I sit through every film, minute by minute, saying to myself, can I believe this moment. In this film, 99.9% of the moments of this film are rich in reality, all the way down to the subtle nuances of a child's syntax. You leave the theatre not questioning the motives or intentions of the characters, but loving them and respecting their choices. Irving captures life as it is, and the actors never go to extremes to manipulate you. The story, is well crafted enough to move you. Jeff Bridges has always been a talented actor and demonstrates incredible poise and intention.