Fierce People

A brilliant and sensitive movie with interwoven plot lines. As a general warning, the movie turns quite dark about half way through. As sudden as it is, this is a change that I found fitting to the themes of the movie, particularly the comparison of the Ishkanani to the filthy rich, and (as is said by Finn at the end) how each person makes up the tribe, and how the whole tribe is reflected in each person.

Anton Yelchin (Finn Earl) is spectacular in this movie. He is probably best known as Chekov from Star Trek or Kyle Reese in Terminator Salvation, but he's been in a whole plethora of movies you've probably never heard of (Alpha Dog, which is another brilliant performance on Yelchin's part, House of D, Hearts in Atlantis, to name a few...) The point is that this kid really takes this movie and makes it his own. Other excellent performances from Diane Lane and Donald Sutherland are what takes this movie up a notch, from great to excellent.

I attended a screening of "Fierce People" at the 2006 Woodstock Film Festival. I hesitate to label it a "premiere" of any sort, since it was shot in the spring of 2004 and had its world premiere at Tribeca in 2005. It played several festivals that year. Release seemed imminent, then it disappeared. Poof. Vanished. Or so it appeared to the film-going public. Rumors of a theatrical or DVD release have popped up now and then, but all proved unfounded. Then this screening was announced. Perhaps one can call it a "re-premiere?" It certainly felt as if I was witness to a buried treasure. And what a treasure it was.

I suppose one could characterize "Fierce People" as a coming-of-age drama. But it also has elements of comedy and tragedy, as well as mystery. And a bit of farce thrown in. In short, real life. That makes it hard to pigeonhole, which puts it more into the category of an indie as opposed to a Hollywood movie. But its high production values, big budget feel, and star caliber cast seem at odds with the indie label. So let's call it a hybrid. And, perhaps, that's why it's been "lost." It defies categorization.

Meet Finn Earl (Anton Yelchin), 15, whose father is absent. In fact, Finn has never known him. But he sees him and hears him via the collection of home movies sent from South America. Dad is a renowned anthropologist, and has made a name for himself by setting up shop with the Yanomani, the tribe of "Fierce People" who live to kill and, well, procreate. All their activities are built around those two "tasks," and Finn is captivated by it. Mom Liz (Diane Lane) is also somewhat absent. Although present physically, she is lost in a world of cocaine and alcohol. So Finn becomes an adult in his little solitary world with his reels of film.

One summer, Mom decides to drag Finn along with her into the wilds of New Jersey. A massage therapist, Mom has catered to a wealthy client, Ogden C. Osborne (Donald Sutherland, in a tour de force performance) and he has invited her for an extended house call at his palatial estate. Osborne's "tribe" includes an assortment of eccentric rich kids, servants, and village idiots among whom Finn will find himself part of his own anthropological study. Will his experience with Dad's films help him survive life as a visitor to this tribe? Will he be accepted? Or will he be seen as an outsider, concurrently struggling with his own identity as an adolescent? Such is the stuff of fairy tales, and I suppose this would be if not for the dark underbelly which director Griffin Dunne and writer Dirk Wittenborn have infused into this magnificent story.

With Anton Yelchin's voice-over, intercutting pieces of Dad's home movies, Finn must learn to go back to being the teenager he never really had a chance to be, stop being the parent to his Mom, allow newly-sober Mom to be parent to him, and learn responsibility on the way to adulthood the way it should have taken place all along. Yet he needs to make this transformation in a dangerous, dark world where playing with fire is folly to this fractured family.

This is, first and foremost, a story-driven film and Griffin Dunne emphasized as much in the intro to the film. He bought the rights to Wittenborn's novel even as it was being written, and Wittenborn's own screenplay comes to life in the hands of the masterful Dunne in a way that's a work of wonder.

This is also largely a character-driven film, and Sutherland has never been better. His star turn as Osborne stunned those around me and will likely leave you amazed as well. Diane Lane's character ultimately exhibits so many personalities that it's hard to imagine another actor pulling it off so well. She is breathtaking. But more than anything, "Fierce People" is Anton Yelchin's film. He has a long resume as a child actor but preciously little as a teen. Other than the little-known "House of D" (also a gem), he is best known as Byrd on TV's "Huff." In January, he will be seen in "Alpha Dog" (also sitting on the shelf since 2004, a film I saw at Sundance this year and in which he is the "heart and soul"). His performance here goes far beyond what one would expect from someone so young, and is nothing short of spectacular.

This complex, quirky film has remained out of sight long enough. "Fierce People" is a treasure filled with light and shadow, comedy and tragedy, joy and pathos, but mostly wonder.

If you just want to judge this movie based on the final product you see on the screen, it would be about 4 stars. I give it 6 because it wanted to be so much more and I will always find value in anyone or anything that aspires to greatness even when failure is the result.

Basically, would you rather see a prosaic movie that can only be boring and unimaginative be as great as it can be or a daring movie with interesting ideas, that could be great, turn out to be mediocre at best?

The talent the production attracted tells you that the potential was there but I am guessing the production either ran out of time or money or both as the finished product failed as a complete work of art.

It does make me wonder about Griffin Dunne, the director, I am intrigued by the subject matter he chooses to direct, you can always sense the potential, but he never seems to make a great film. I say that with the caveat that Addicted to Love is one of my favorite films, flawed, but it strikes a nerve with me.

Even as mediocre as Fierce People is, it will make you think, it is definitely intellectual, and the subject matter concerning humanity and the desires and motives and actions of modern day human beings as compared to primitive cultures is certainly interesting. The idea being that no matter how sophisticated modern man, especially in western cultures, thinks he is, when it all comes down to it we are still just human beings, animals, that want and need sex and food and shelter and comfort, and unfortunately, violence and cruelty and power over other human beings is often how we gain and protect what we have.

Bottom line, if you are simply looking for escapist entertainment, skip this one, you will be bored. But if you want to dig a little deeper and maybe think about the creatures you interact with on a daily basis in a different way, this film is worth a viewing.

"Fierce People" is a quirky coming-of-age tale told through the dark lens of a learning that the lives of the very rich are really blackest comedy. Uneven direction and a spotty screenplay (based by the author on his novel) almost do this movie in. What saves it is a gallery of first-rate performances by a fine cast. The acting is uniformly excellent, which keeps the viewer from focusing on what is basically very familiar territory.

You have to hand it to Diane Lane. Her role as the alcoholic (apparently recovering) mom is poorly written and inconsistently conceived by the director. But she gives it all she's got (which is plenty) and her later scenes with her son (also well portrayed by Anton Yelchin) achieve a depth and emotional impact that is a great credit to both actors. That depth sure isn't in the script.

Donald Sutherland is in great form as the seventh richest man in American who brings New York City masseuse Lane and her teenage son to the wilds of richest New Jersey. As his granddaughter, Kristen Stewart shows why she has zoomed to stardom in the "Twilight" films and to critical acclaim in movies like "Adventureland." Not only does the camera love her, she pays it back in full with a performance here that is remarkable for its subtle depths. (Watch her face when she gets in the black Mercedes in the movie's final scene.) As the grandson, Chris Evans is vivid and effective. (The camera loves him too.) The rest of the cast is great too. But highest praise goes to Elizabeth Perkins as Sutherland's alcoholic daughter (and mother of those aforementioned children). It's a small role, but she really comes across as she comically portrays a lifetime of privilege and desperation.

Despite the fine performances, many scenes fall flat and slide into confusion. Some of this may be due to the poor audio recording (at least on the DVD). Some of this may also be due to the inconsistent emotional focus of the script (which really needed another couple of rewrites, probably NOT by the author of the original novel).

Nice location work, though, wherever that estate was that most of the movie was shot!

A self-indulgent mess of a film, which is ironic in a way, as it is lambasting the self-indulgence of the idle rich. Nonsense from start to finish and a total waste of everyone's time. Avoid.