Keane

Only quite rarely does a film have the quality of an event really taking place. You get that feeling when you are watching 'Keane.' Most filmmakers, even the most gifted, don't seem to have the uncompromising devotion to create a realistic world in their films. Inevitably, the temptation to show their stylistic talent is what dooms well-intentioned 'verite' directors to water down their works with artifice. The only other film, in recent years, that also succeeded in recreating the real world, was 'Rosetta,' a French film that won the Palme D'Or a few years back.

And the reality that Lodge Kerrigan and the actor, Damian Lewis, create in 'Keane' is one that is particularly difficult to create - it is a reality of a person on the edge of sanity, a reality that few people who are sane enough (if anyone can be considered sane in this business)to get a film made would ever have experienced. Unfortunately, I can understand the isolation, paranoia and desperation that William Keane expresses in this movie. And it expressed with an alarming verisimilitude.

Despite my first comment that 'Keane' is a film without artifice, there are elements to the structure and editing that show the director/writer had made extremely subtle uses of film technique to compress, heighten and intensify William Keane's psychological character.

Finally, I must add that this film is an emotionally rewarding experience, providing a denouement that is cleansing and healing - a 'happy ending' that smacks of real life, not the strange and manipulative world of formula film making. When I left the theater, I felt stronger, purged, for a while at least, of the private terrors that always lurk beneath the surface.

I saw Keane at the 42nd annual New York Film Festival and was quite pleasantly surprised. I'm really not an indy film buff, well, I wasn't until this trip into the city. I was absolutely captivated and completely engrossed in this film. This is one of those films that keeps you on the edge of your seat and easily wraps you into the story. You really feel like your are with William Keane, you can feel what he's thinking. Then the story will take an unexpected turn...see, I told you it keeps you on the edge of your seat. This film is definitely thought provoking and sensitive to all facets of the human being. It's one of those films that you can see repeatedly and get something new from it each time. I think the only thing I don't like about it is that I can't see it again easily or purchase it on DVD. I would LOVE to have this film in my personal movie collection.

I saw this movie last year at The Toronto International Filmfestival. Unfortunately in Europe we don't get to see many Indy-movies, but this was a rare opportunity for me to see an excellent one. It's the kind of movie that leaves a lump in your throat after wards! I was constantly wondering if this child that he lost at the bus-terminal was real or just a fragment of his imagination. Also when he takes care of another child while it's mother is gone for a few days, you start wondering if Keane is not going to hurt or kidnap this child! Most of the movie you really feel for this guy. Especially because the camera is so close on him all the time. It feels as if you're actually following him wherever he goes.

This movie looks very real; no special effects no beautiful make-up or costumes. The acting is what acting is all about; you don't see the actor but you see the character! It sometimes feels like your looking at a documentary. Real Oscar stuff! Keane is the kind of movie that touches you, even long after you have left the theater!

I finally got to see this film last night at LFF in London, and it has been more than worth the wait.

The moments between relative lucidity and mental anguish of William Keane are forcefully explored and successfully displayed by the joint work of Lodge Kerrigan's in-yer-face directing coupled with Damian Lewis' profoundly poignant interpretation of a man clinging precariously on the edge of some kind of sanity and not always succeeding as he knows he should.

I have never encountered such a long period of total and absolute quiet at the end of the film as I did at the end of Keane: the collective breath-holding was incredible.

Chilling, yet strangely warm, this film left me with more questions than answers and an empathy towards the character and the subject of mental illness as a whole than I have ever experienced. It simply has never been something I have concerned myself with. If this is what Lodge Kerrigan set out to achieve, he has more than accomplished it to my mind.

An important film that is a tour-de-force for both Lodge Kerrigan's tight direction and Damian Lewis' craft as an actor.

Go see it if you can. Lobby your local cinema to show it if necessary, but see it.

"Keane" is a searing portrayal of mental illness. Dominated by an intense tour de force performance by Damian Lewis of the titular character on screen in close-ups for the entire film, writer/director Lodge H. Kerrigan throws us into "Keane"s disturbed mind set from the get go, as we have to continually judge for ourselves what is his grip on reality.

His struggles with what may or may not be paranoid schizophrenia or a breakdown triggered by guilt are conveyed Dogme style, with no "A Beautiful Mind" tricks. Through his mutterings and movements we see the world from his tormented perspective as he painfully re-lives what is either a trauma or a delusion, and ache with him as he self-medicates with booze and drugs. We alarmingly get to understand his mind even as we fear for his safety and others around him, particularly each time he drinks a beer.

Lewis uses his leading man good looks, even disheveled, to show how manipulative and disarming a person with a fractured mind can be. We can viscerally feel his efforts to control his thoughts and behave responsibly when the stakes are very high. He uncannily captures the look of disturbed men seen unfortunately frequently on the streets of New York (I was punched by one once after he stared at me fixedly in a store) and who are brought to public attention openly after a subway platform pushing or inexplicable knife attack.

The ambient sound design brilliantly captures "Keane"s highly stimulated perceptions and keeps us at the edge of our seats in agony as to what sound or sight could set him off. The ambient song selections are beautifully selected to heighten his emotions, including the 4 Tops' "I Can't Help Myself."

The people who briefly interact with "Keane" are excellent character actors who create whole, almost as damaged individuals with just a few lines, particularly Tina Holmes as a coke head and Amy Ryan as a single mom with significant problems. Abigail Breslin is one of the sweetest children on screen in a long time and her projection of trustingness adds to the poignancy of her scenes with Lewis that have the audience holding their collective breaths for their unpredictability.

The film makes excellent use of realistic locations in New York and New Jersey with a gritty, very urban-sensitive cinematography.

The credits include thanks to Fountain House and Project Return which work to help the mentally ill fit into society. I wish more hopeful information on what is being done were added.

"Keane" is a profound example of the moving simplicity of the storyteller's art revealed by brilliant acting through characters that portray the human spirit.