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By
DEBORAH NICOL
An educated mind can
comprehend many things: business, art, finance.
However the most natural thing in the world can
elude it: family. The importance of family -- no
matter how little time is attended to it or how
seemingly nonexistent affection is expressed -- is
a theme so many films touch upon, but which often
feels artificial. First-time writer Angus
MacLachlan and first-feature director Phil
Morrison bring this lovely, simple story to life,
and infuse it with a thoughtfulness that has
escaped others before them.
Love-at-first-sight marrieds George (Alessandro
Nivola) and Madeline (Embeth Davidtz) head south
to North Carolina so that Madeline can persuade an
artist to join her gallery. Out of convenience and
curiosity, they also squeeze in a visit to his
nearby family. Cultures quietly collide without
fury or chaos, but through the natural channels of
politeness and submerged feelings.
George's very pregnant sister-in-law Ashley (the
exuberant Amy Adams, who will surely receive much
attention for her superb performance) is in
complete awe of Madeline even before she meets
her. A small town girl who has never thought of
leaving home, she views culture and education as a
superiority status far from her reach. This does
not upset her but thrills her when she is
introduced to such sophistication, as she is such
a glass-half-full sort of girl that her glass runs
over by sheer will.
The rest of the family, however, seems embarrassed
by her fawning, and holds all emotions tightly
within themselves. Mother Peg (the full force
Celia Weston) tries to keep everyone in line, and
not-so-subtly attempts to control their words and
actions. Father Eugene (the restrained and genuine
Scott Wilson) excuses himself to his woodshop to
whittle away his thoughts, and baby brother and
father-to-be Johnny ("O.C." boy Benjamin McKenzie)
oozes anger and frustration from the cramped
lifestyle of a full house.
Director Morrison reveals truths as a fly on the
wall, as accidental eavesdropping allows
characters to build on their emotions though the
lack of clear communication causes each building
to crumble. Cinematographer Peter Donahue ("The
Fog of War") contributes his documentary
experience by instilling a quiet contemplation
between dialogues. Snapshots within and outside of
the house express a need for the walls to talk,
but like their owners, they are too closeted.
The artist (portrayed with quirky seriousness by
Frank Hoyt Taylor) that draws Madeline to this
strange country personifies a compromise between
the two extremes of expression. He only paints
what he knows (allowing for the faces of white
friends to be adhered to the unfamiliar bodies of
Civil War slaves), and what is alien to him is
explained through visions and dreams. His altered
mind creates a connection when no one else will
perform the task. In a blurring of reality, he
represents the hazard of both too much inward
dialogue and too loud a discussion of these
thoughts to others.
As honest and vocal as Madeline is in contrast to
George's family, she has never learned the value
of inexpressible love for home and family. She is
not mean spirited, but simply cannot distinguish
her own selfish goals at a time that would be more
appropriately focused upon the family. The heart
of the film lay in Ashley, whose pureness and
unabashed need for affection envelopes the family
into which she married, who are strangers unto
themselves. In spite of their inability to relate,
they are family all the same.
Extras for this wonderful film include a nice
commentary track with Adams and Davidtz, deleted
scenes, five behind-the-scenes features, casting
sessions for Adams and McKenzie, a photo gallery
of fictional artist David Wark's unique work, and
previews of other films. |
