Director Todd Field (In the Bedroom) and author Tom Perotta (Election) have created the most incisive, mordant, and entertaining peek into suburban life since 1999’s American Beauty. You really feel the carnal yearning that Kate Winslet and Patrick Wilson have as they inch their way to an affair. I’ve never felt the raw appeal of an affair perhaps like this before. Even more amazing, the film explores an entire neighborhood of characters and breathes life into them. Little Children feels like a great novel, with a scalpel-sharp narrator offering glimpses into the inner workings of these people. You get a great sense of worth in the film and it’s easy to fall under its spell. Little Children is a wonderful movie that looks at the complexities of people without judgment but with plenty of sly humor. It’s a fine work of satire and sensuality, and Winslet is becoming so good at delivering powerful performances that she’s being taken for granted as perhaps the best actress of her generation.
Nate?s Grade: A
In the Bedroom hits all the right notes of agonizing pain, devastation and loss. The heart of the film is on the grief encompassing Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek) over the loss of their son. The Fowlers are well regarded in their cozy New England town. Matt is a flourishing local doctor and Ruth teaches a chorus of local high school girls.
In the Bedroom opens with Frank Fowler (Nick Stahl) chasing his older girlfriend Natalie (Marisa Tomei) across an open grassy field. Frank is a budding architecture student home for the summer and thinking of prolonging his time so he can stay together with Natalie. Frank and Natalie have a distinct age divide but also seem to have been given different lots in life. She has a pair of boys from her abusive husband Richard (William Mapother) that she is finalizing a divorce from. Richard is hopeful he can reconcile with Natalie if he just gets another chance, but Natalie is stern in her refusal.
Ruth sees the relationship as a detriment to her son’s future. She’s even more upset that Matt is so casual with their son dating an older, working-class mother. Frank rushes over to calm Natalie after another of Richard’s outbursts of violence has left her house in shambles. She rushes her children upstairs just as Richard returns back. He manages to sneak in through a back door and confronts Frank in their kitchen, shooting and killing him. What should seem like a clear-cut case begins to unspool. Natalie admits she didn’t actually see the gun fire and the charges are dropped from murder to manslaughter. Richard is released on bail and free to stroll around occasionally bumping into the grieving and outraged Fowlers.
The majority of the film is the aftermath of the murder and the strain it puts upon Matt and Ruth and their marriage. Beforehand jealousy, anger, and bitterness would simply sit but slowly the tension begins to bubble to the surface. Ruth holds resentment and blames the leniency of Matt for the death of their son. Matt tries to get out of the house as much as possible, even if it means sitting in his car in their driveway at night.
One of the most harrowing scenes of In the Bedroom is also its emotional and acting centerpiece. After the mounting frustration with justice, Ruth and Matt explode into an argument that had slowly been building long before their son’s death. This is the first time they have truly talked about the whole situation and accusations fly like bullets in their first emotional confrontation. In the Bedroom could have easily fallen into the area of sticky made-for-TV land, but the exceptional performances all around by the cast and the deft and studied direction never allow it to falter.
Spacek (Carrie, Coal Miner’s Daughter) can begin writing her Oscar acceptance speech right now. Her portrayal of Ruth displays the pride and seething anger, but keeps her human throughout. She exhibits pure, raw emotion that strikes directly inside you leaving a knot in your stomach and in your throat. Her performance is truly breathtaking and so emotionally visceral to watch. Wilkinson (The Full Monty) plays Matt with passive-aggressive doubt and repression. He dominates in any scene he is in and takes the audience on a wide range of emotions. He has a commanding presence and compliments Spacek’s Ruth nicely. Perhaps the greatest thing Tomei (My Cousin Vinny, Slums of Beverly Hills) was known for was miraculously winning an Oscar and dumbfounding a nation. With ‘In the Bedroom’ she is given the ubiquitous “And” credit at the end of the opening cast list. She has less to work with and less screen time to work it, fully earning the “And”‘ credit she has.
Todd Field is an actor-turned-director and has appeared in such a wide array of films from Twister to Eyes Wide Shut. Field has layered his film with rich symbolism and an intelligent, patient pace. Most of the action in movies is centered on what is going on in a scene, but the most telling moments of In the Bedroom are what are not going on in the scenes. Field creates such an intimate portrait that the camera almost turns into another character, catching the lingering silences and the burgeoning inner turmoil. Field also adapted the screenplay from a short story by Andre Dubus, whom he dedicates the film to.
In the Bedroom is not going to be for everyone. Some will find it slow and some might even find it boring. As it stands, it is a powerful film on the study of loss that grips you and refuses to let go. You will feel all the blame, jealousy, anger, and pain of this family and for such emotions to resonate from the screen to the audience is a great achievement.
Nate’s Grade: A