| IN THE BEDROOM Rating:  Director: Todd Field Producers: Todd Field, Ross Katz, Graham Leader Writers: Rob Festinger and Todd Field based on the short story Killings by Andre Dubus Director of Photography: Antonio Calvache Cast: Tom Wilkinson, Sissy Spacek, Marisa Tomei, Nick Stahl |
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Review by: Joseph
Campbell
2/27/02
At once both a strenuous and enthralling drama, In the Bedroom is an intricately crafted study on the grief that ensues when a loving, functional family is forced to cope with a tragic murder. Based on the short story, "Killings," by Andre Dubus, the film takes us on a nuance-laden descent into unforeseen pain and suffering, highlighted with excellent performances from Tom Wilkinson, Sissy Spacek, and a great supporting cast.
Directed by Todd Field and co-authored by Field and Rob Festinger, In the Bedroom follows Dr. Matt Fowler (Wilkinson) and his wife Ruth (Spacek), a 50-something New England couple, as they clumsily attempt to deal with the reality of a tragic family loss. The story wastes no time acquainting us with Frank Fowler (Nick Stahl), the precocious, college-age son, and his latest summer fling Natalie, a single mother of two, capably played by Marisa Tomei. Frank's strong sensitive nature, or immaturity as his mother sees it, drives him to contemplate settling down with Natalie to become a father figure to the kids. His parents object to such a notion, and we have a seemingly nice recipe for a conventional, family-based melodrama. Field uses this bittersweet story introduction to set us up perfectly for the unconscionable turn of events that follows.
In the aftermath, the Fowlers fumble along, revealing how even strong, good-willed people can be forced into frustration, anger and vice. Ruth, manipulative and unforgiving, throws herself into a state of grieving, whereas Matt, the more affable of the two, quietly attempts to restore order in his life. Their struggle is depicted through wonderful direction, a strong script and the use of several classic film conventions. Despite a gradual, methodic pace, Field keeps our attention fixed with slow-motion montages, flashbacks, close-ups, the skillful manipulation of diegetic sound and creative camera work. The action is tense and deliberate, and the protagonists simmer ominously just below the boiling point.
The film presents a number of symbolic images and underlying themes, including legal injustice, sexual conflict, revenge, and the importance of family lineage. All are portrayed subtly without an overabundance of explanation. Field explores sensational violence and physical confrontation but manages not to display it in excess or glorify it. Instead, the story puts its emphasis on human emotion through pensive acting performances and morose dialogue. Spacek and Wilkinson shine in their roles as two characters battling individual regrets, while widening the distance between each other with their inability to communicate.
Amidst the many subtleties and ulterior plot developments, the movie's bread and butter lies in its exploration of how familial love and responsibility can be shattered instantly by a single tragedy. The audience must endure a certain amount of torment watching the characters interact in quirky, yet realistic ways. We see how love and affection as well as darkness and evil can be embedded in family relationships. The title itself is brilliant, alluding to the place in a household where a family ultimately stays together or falls apart.
In the Bedroom
is an exceptional and intelligent film that captures the realism
of human adversity. The film's only shortcoming is that it is
probably not for all tastes, due to the slow, brooding nature
of the action. Still, the patience exuded by Field in his directing
style is arguably one of the movie's finer points. Field shows
that he understands the effectiveness of a character-driven story
and, with this powerful debut, establishes himself as a force
on the up-and-coming directorial scene.
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