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HOUSE
OF SAND AND FOG Rating:   (out of 5 stars)Director: Vadim Perelman Producers: Michael London, Vadim Perelman Writers: Vadim Perelman, Shawn Otto; based on the novel by Andre Dubus III Director of Photography: Roger Deakins Cast: Ben Kingsley, Jennifer Connelly, Ron Eldard Visit the IMDB page for full cast and crew |
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Running neck-and-neck with 21 Grams for the title of "most serious film of 2003" is Vadim Perelman's impressive debut House of Sand and Fog. Seeing this film actually makes me like 21 Grams less (I'd now reduce my 21 Grams rating to 3 stars) -- when it comes to the territory of grim, feel-bad drama, this movie is completely more involving, mainly because it creates identifiable characters rather than just presenting archetypes of pain and suffering. The final story beats certainly come close to kicking the viewer when they are already down, but this movie, unlike so many heavy dramas, doesn't alienate its audience. It's human, sensitive, and quite endearing.
Ben Kingsley gives arguably the most memorable performances of 2003 with his portrayal of Massoud Amir Behrani, the patriarch of a family of Iranian immigrants, now living in the San Francisco area. Behrani, a former military Colonel and an elite member of the ruling class in his homeland, has been reduced to a forgotten working class cog in the U.S., toiling away at two jobs to make ends meet for his family, who still wear a façade of wealth. When Behrani comes across a newspaper classified listing an auction for a home that has been seized, he sees it as a prime opportunity to move his family forward financially. After checking out the house, he learns that a quick addition to the home will subsequently enable him to sell it for 4 times the amount that he can purchase it for. This is what the American Dream is all about. Unfortunately, it's not quite that easy.
The seized house was the property of a divorced woman named Kathy Nicola (Jennifer Connelly), and arguably still should belong to her. Because a depressed, downtrodden Kathy neglected to open a few months worth of mail, she failed to realize that she owes the county $500 for back taxes on the home, which was left to her and brother by their late father. So it's to Kathy's great surprise when, with just about no serious warning, she is forcibly removed from her home (you think someone might have tried calling her?). She hires a lawyer, but it's too late to get the house back immediately, as it has been sold to Behrani. Kathy is forced to live in her car while she tries futilely to get the property back, receiving help from a…uhhhh…strange…police officer named Lester (Ron Eldard).
Jennifer Connelly is the most stunningly attractive homeless woman ever. In fact, if there are really any homeless women out there who look like Ms. Connelly, please send me an e-mail (with a photo attached), and I will gladly find a spot in my apartment for you. Connelly's also a pretty decent actress and she holds her own against the formidable Kingsley. It is these two strong, affecting lead performances that anchor the emotional bulk of this film.
Adapted from Andre Dubus III's novel, Perelman's script (written with Shawn Otto), balances Behrani and Kathy's respective plights equally. These are complicated characters thrust in the middle of a confounding situation, and appropriately no good guys or bad guys emerge from the turmoil. The film doesn't try to argue a right or wrong in the predicament -- its concern is squarely set on the human toll exacted. Perelman skillfully finds just the right tempo to pace the proceedings, which may be the biggest key to this movie's success.
There are small things throughout the film that don't work (whether they be suspect character motivations or difficult to swallow plot devices), but none are substantial enough to doom the movie. Kingsley's Oscar nomination should be a foregone conclusion. Behrani's unwillingness to even slightly yield his dignity walks the line between commendable bravery and simpleminded selfishness. This is a man who wants the best for his wife (Shohreh Aghdashloo) and son (Jonathan Ahdout), and after feeling that he has been the subject of disrespect in the U.S., he isn't overly concerned with anything or anyone he must knock down to obtain it. The performance is fierce but contained; any time you think the actor is about to go totally over-the-top, he reigns in his energy exquisitely.
House of Sand and Fog will be a noisemaker in the Awards season (I suppose
it already is), and this film is definitely deserving of the attention.
It delivers a heavy emotional load without beating you up in the
process -- a much more difficult feat to pull of than it might
sound.
(A DreamWorks Pictures release. Opens in New York and Los Angeles
on December 19, 2003. Expands nationwide on December 26, 2003.)
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