IN THE BEDROOM (****)
Sometimes I wonder if it's still possible for movies to reflect the famous passage, "art imitates life". For Filipinos, movies are almost pure escapism. In our post-colonial history, we've found times tough, and we try to get away from it as far as possible. This results in our desired films being far from lifelike. We only get affected by pictures which overstate the obvious. We like slapstick instead of humor, vulgarity instead of wit, explosions instead of tension, sex instead of affection, and gore instead of fear.
This is not a rant against the blockbuster trends. Films will always have a place for them since we always need to be entertained. But the niche for movies which strive for quality by being close to reality constantly shrinks as this escapist mentality progresses. Let us not forget that film is also a form of art, and art is an expression of life and its truths. It shows the frailty and glory of humanity better than any artform I know of (that's why I love movies). It enlightens as well as entertains.
IN THE BEDROOM is a classic example of the power of film and its eye on human life. It is a rare work that captures affection, jealousy, rage, grief, depression, consolation, and revenge better than any movie I have seen since BOYS DON'T CRY. But none of these events happen through excess. The acting is so true, so nuanced, so spontaneous, that it doesn't feel like a movie. It feels more real than a documentary, since there is no all-seeing narrator to describe what is going on. It's as if the audience is a spirit moving through the lives of these ordinary people, who are about to go through an event so emotionally shaking, that it leaves us affected as well.
The film starts with a lovely day, a lovely couple, and a seemingly loving family. Frank Fowler (Nick Stahl of THE MAN WITHOUT A FACE) is an affable and smart young man about to graduate from college. Natalie Strout (Marisa Tomei of MY COUSIN VINNIE) is an estranged wife (in her 30s) with two kids. They both love each other, but Natalie is more protective of Frank since he isn't fully aware of the complications of their relationship (she has children and her soon-to-be divorced husband is insecure). Frank's parents are Matt (Tom Wilkinson of THE FULL MONTY and SHAKESPEARE IN LOVE) and Ruth (Sissy Spacek of COAL MINER'S DAUGHER and BADLANDS). Matt is the local town physician while Ruth is a choral director at a high school. At a barbeque among friends, Ruth is concerned about where her son's relationship is going with Natalie. Frank says it's nothing serious, but both he and Ruth know it is, and is reluctant to talk about it with his parents.
What happens next I will not say (to do so would spoil the movie). It leads to the film's heart, which is both Matt and Ruth. We see how they deal with what has happened, the pain they endure, the way they cope, and what hidden feelings stir inside them waiting to erupt. The movie's second act is the source of its power. Many viewers might wonder what the plot of this movie is. But the movie doesn't rely on plot points, rather on emotional ones. It displays a depth which doesn't require inquiry, but empathy. While watching the days that pass by after the story's main turning point, I was moved by the film's shrewdness and maturity. It knows about pain, blame, and the need for justice. The picture makes it easy for us to really care about each character. We are able to peer into their lives, figure out what motivates them, so when what happens... happens, we instantly relate to them.
Another surprise is that in the film's final act, the story makes another turn. Here is one movie that can get away with starting out with love, and ending up revenge. There are moments here that are truly pulse-pounding, more frightening than most thrillers. During several moments (including the first act), I found myself flinching away from the screen in fear, not so much because the acts are scary, but because we can feel the rage flowing among those involved (and in some ways it becomes our anger too). The pot boils in the second act, and spills over in the last.
The three main players in this story are all incredible. Their portrayals are genuine and flawless. How Jennifer Connelly edged out Marisa Tomei for the Academy's Best Supporting Actress award is beyond me. Her character displays a wanting of hope, and a fear for her family's safety. She doesn't want Frank to get in trouble, and doesn't want her kids to witness anything traumatic. In any other year, Tom Wilkinson would have won the Best Actor nod. He plays a man who is living his life through his son. He enjoys the status his son gains in being able to woo an older woman, that it probably leaves his son vulnerable to the dangers of their relationship. And after the movie's decisive moment, he plays a man who does not know how to deal with his pain, wanting to escape it, but doing his best to cope, even though it isn't obvious.
I haven't seen Halle Berry's performance in MONSTER'S BALL yet, but her work must have been out of this world to beat out Sissy Spacek. She pulls off the most the most difficult job among the three. She plays out a hidden torturous pain. Her distant and subtle expressions reflect a woman in agony, wanting someone to talk but not finding anyone converse with. Her anger builds as she looks for an outlet with none in sight. And when she finally breaks her silence, we feel even more heartbroken.
I don't believe this film will resonate with young viewers whom I predict will call it boring and pointless. Some people may ask, "This got nominated for best film?" After seeing it, I think it should have won. It struck a chord with me. There are some scenes in here that are as close as you can get to real life. It has a remarkable sense of truth, simplicity, and sincerity. At its crossroads, it has makes a violent act have more weight than all the bloodshed in a Schwarzenneger film. In its closing scenes It brings chills and dread that no horror movie can. And it delivers these moments without any gimmicks, fancy special effects, or schmaltzy romance. Why the title? It's not about sex, but about the secrets a married couple holds. IN THE BEDROOM is a small miracle, but a painful one.