Tuck Everlasting

Tags

2000's, Alexis Bledel, Amy Irving, Ben Kingsley, Fantasy, Jay Russell, Jonathan Jackson, Romance, Scott Bairstow, Sissy Spacek, Tuck Everlasting, Victor Garber, William Hurt

Based on the popular novel , Tuck Everlasting is a magical and at times moving fantasy that ponders deep questions and boasts a wonderful cast. While it might not be to all tastes, Tuck Everlasting may very well surprise you. Especially because it’s not something I imagined would come from Disney but somehow works.

It’s the early 1900’s and rich teenager Winnie Foster( Alexis Bledel) feels constricted by society and how she’s never allowed to have any adventure. She’s largely confined to her house , where her parents smother her with rules and restrictions. Her mother Mrs. Foster( Amy Irving) is prim and proper , while her father Mr. Foster ( Victor Garber) is often busy . Winnie becomes more frustrated with her life when she’s informed that she’ll be going to a boarding school. Angry, she runs off into the woods that she’s been forbidden to enter. Finding herself lost, she meets a handsome young man called Jesse Tuck(Jonathan Jackson) . He’s secretive but before they can connect, Jesse’s brother Miles(Scott Bairstow) takes Winnie with him back to his family. Here Winnie meets the mother and father of the Tuck family, Mae(Sissy Spacek) and Angus(William Hurt). The family live in a wooden house, sheltered on the lake and among beautiful scenery . The family are hesitant over what to do with Winnie as they are clearly hiding from something . After initial uncertainty because of their secretive ways, the family warms to Winnie. As she spends more time with them, Winnie becomes entranced with how they live and finds trusted comfort with them. Jesse eventually reveals the secret of his family; they are immortal having drank water from a spring within the woods. Though they are a close family and live life with some sense of freedom, the Tuck’s have a few feelings of regret and sometimes question what they did. In the meantime, Winnie grows closer to the family. Unfortunately for Winnie and the Tuck’s, especially Jesse, who she has fallen in love with, darkness may be on the horizon. A mysterious Man in a Yellow Suit ( Ben Kingsley) has arrived with an intention on discovering their secret to immortality and wants to exploit it. And it seems he’ll resort to anything to get his wicked hands on it. Winnie’s parents also send out a massive search party to find their runaway daughter. With both of these things hanging over the summer that will change everything, the big question falls to Winnie. Will she drink from the spring to become immortal or decide against it and grow old like everyone else?

Director Jay Russell conjures up a pretty magical movie that takes innocence and the pressures of growing up and infuses them with summer adventure. He’s clearly got great admiration for the source material and doesn’t feel the need to over simplify for children, yet not alienate older viewers either. The visuals are simply gorgeous; long sweeping shots of woodland, dreamy dissolves between scenes and a sense of bittersweet reverie that colours every frame. Even the most cynical of people is likely to be charmed by this warm-hearted yet wistful movie that explores deep issues with heart and a soulfulness. Where other movies fail when trying to straddle both kid friendly content and weighty issues, Tuck shines. While some little moments get a tad saccharine, it steers to the right side of sentiment and heart that is hard to resist or fault. It’s a movie that can be incredibly moving too with the big question of immortality and eternal life at the centre . I mean I think the prospect has been something that has been of interest to people for centuries and is a concept that is most intriguing.  An eloquent, wistful and stirring score from William Ross highlights the often bittersweet nature of the film, but also the beauty and mystical energy involved too.

Heading the cast is the young Alexis Bledel , who gives a very fine performance. Bledel embodies the stifled feeling of caught in the need for adventure and wrestling with the prospect of growing up. A lot of the movie rests on her shoulders, but Bledel, with her blue eyes and genuine demeanour ,rises to the challenge of capturing a girl at the point of womanhood with a very difficult dilemma at her door. Plus she has very convincing chemistry with Jonathan Jackson as the main Tuck of the film. The aforementioned Jackson brings an incredibly earnest charm to his part and has enthusiasm to burn. Veteran stars William Hurt and Sissy Spacek bring experience, depth and honesty to their roles. Both Spacek and Hurt convey so much often without words and bring true class and heartfelt emotion to Tuck Everlasting. William Hurt possesses the wisdom of someone who cares deeply for his family, while Sissy Spacek beautifully portrays a genuine maternal warmth as the glue of the family in times of upheaval. Scott Bairstow is mainly left to glower and snarl as the resentful brother, though he does get one pretty emotional scene. On villainous duty and doing it in suitably stylish taste is the ever watchable Ben Kingsley. Complete with something quite unnerving, his skill for flattery and slippery way with words , Kingsley makes the main villain quite creepy and someone you really want to not succeed in his wicked plan. Amy Irving and Victor Garber , though not given the most to do, effectively embody the kind of parenting from a time gone by with strictness and want to please the rigid rules of society.

While Tuck Everlasting may not appeal to certain demographics or audiences( the Disney label might put some off), I’d say they are missing out on a very lovely and wistful story. With a blend of innocence and maturity, Tuck Everlasting is a winning fantasy in my book and one to treasure.

Carrie

Tags

1970's, Amy Irving, Betty Buckley, Brian De Palma, Carrie, Horror, John Travolta, Nancy Allen, Piper Laurie, Sissy Spacek, Stephen King, Supernatural Horror, William Katt

Film Title

Carrie

Director

Brian De Palma

Starring

• Sissy Spacek as Carrie White
• Piper Laurie as Margaret White
• Amy Irving as Sue Snell
• Nancy Allen as Chris Hargensen
• Betty Buckley as Miss Collins
• William Katt as Tommy Ross
• John Travolta as Billy Nolan

Based on the novel by Stephen King, Carrie is a heartbreaking and frightening take of bullying and the limits that someone is pushed to. With Brian De Palma behind the camera and Sissy Spacek supremely moving as the titular protagonist, Carrie becomes a compelling exercise in horror rooted mostly in the real world, but with supernatural touches complimenting it.

Carrie White is a painfully shy outcast in high school, who is mercilessly bullied by her fellow peers. She has an equally unhappy home life where her mother Margaret is a crazed religious zealot who thinks anything remotely sexual is a sin, regularly beats Carrie and forces her to pray for her alleged sins. Carrie is once again tormented when she experiences menstruation for the first time in the showers and as a result of her upbringing that hasn’t explained it, she is targeted by a number of girls headed by the sadistic Chris Hargensen. Miss Collins breaks up the horror of the situation and attempts to comfort Carrie. She punishes the girls for their horrible treatment of Carrie, resulting in Chris being banned from prom due to her lack of sympathy and refusal to admit she’s done anything wrong. At the same time, the timid Carrie starts exhibiting signs of telekinesis that flair up when she is angry and she struggles to understand. One of the girls involved in the torment,  Sue Snell, starts to feel very guilty about her part in it and wanting to be nice, she asks her boyfriend Tommy to take Carrie to the approaching prom. She sees it as a way to help Carrie and also as an apology for her behaviour of which she feels immense remorse for. Carrie is apprehensive when Tommy asks her as she thinks it is a prank, but after talking and getting advice from the kind Miss Collins, she accepts. Meanwhile, the horrid Chris ropes her boyfriend into engineering some sort of revenge on Carrie. Carrie’s mother is adamant that her daughter will no go to the prom, but Carrie finally stands up for herself and attends. But after a vicious prank set up by Chris and her boyfriend humiliates Carrie just as she feels accepted, she completely breaks and makes those who have bullied her very sorry in a most fatal and gruesome way with the use of her powers.

Brian De Palma directs this film a stylish and surprisingly empathetic touch to showcase the way that Carrie wants to be accepted and is repeatedly bullied for it. Sensitive and compassionate are not often words associated with De Palma, but his approach to the material really hits home in how it presents the horrors of bullying and being seen as different by ignorant others. And while a film that is in the horror genre, the biggest unsettling parts are the depictions of cruelty and nastiness that Carrie endures. When she finally lashes out and unleashes her powers, you can see why this is happening. She has been put to the razors edge and is now acting out retribution of the most fatal kind. Carrie is no monster, merely a misunderstood girl with a gift that finally snaps when torment gets to much, and I think everyone whose ever been mistreated or bullied can at least relate to that feeling of being so downtrodden and yet wanting to get back at those who frighten them. Which brings me onto my next point of interest. Now no review of this film would be complete without a shout out to the justly celebrated prom sequence when Carrie is pushed over the edge with no way back. Utilizing an assortment of techniques( eerie yet tense slow motion, the maximizing of particular sounds and striking split-screen) the results of the scene are simply haunting in how chilling and precise everything is, as Carrie turns the prom into a bloodbath. I could wax lyrical about this forever but the review can’t be a full on essay. All that’s left to say is De Palma is the masterful composer behind the detailed and shocking scene that leaves a big imprint on the mind, and won’t be forgotten for a long time after the movie finishes. Carrie adeptly straddles the tropes of a perceptive high school drama with horror that grows to a jaw-dropping finale, confirming it as a horror film that deals with real life social issues compassionately. The pace of it is just right, building up to the climatic snapping of Carrie’s mind with assurance and some cleverly ironic foreshadowing. And the score is purely amazing in every aspect of the word. Pino Donaggio works wonders as he covers all the emotional ground of Carrie, while bringing in by little nuances, the suspense and shocks that will eventually ignite. You couldn’t have asked for a better score for this film than the lyrical and haunting one it sports.

Sissy Spacek represents the tormented soul of the film with a natural and sympathetic performance. There are times when she is so authentic that it doesn’t seem like she is acting at all, so sincere and expressive in her interpretation of Carrie’s anguish and victimized mind. There is simply no one who could have been so convincing in the part and use their eyes to both moving and unnerving effect, particularly noticeable in the prom sequence when Carrie’s powers come into full force. Piper Laurie is wildly and suitably over the top as Carrie’s crazy mother, who puts fear into her heart and also the audience’s. She really goes for the unrestrained and frightening approach that is superbly played like a pro, which of course Piper Laurie is. This is the mother of your nightmares, and has to rank as one of the most unhinged to hit the cinema screen. In her movie debut, Amy Irving strikes the right notes of guilt-ridden shame and atonement for her actions in a quiet but evocative way. Nancy Allen stars as queen of nasty and vicious Chris, and you can’t fault her performance because you genuinely loathe this character. Betty Buckley is a supportive presence as the kind Miss Collins, while William Kitt displays a sensitivity as Sue’s boyfriend who is persuaded to ingratiate Carrie to the prom. And of course, there is a very young John Travolta, who successfully plays the none too bright boyfriend of Chris who is pulled in to help her exact her shocking prank on the title character.

A dazzling horror and cautionary tale of how you should think about the treatment of others, Carrie is rightfully iconic and cuts deep on a lot of levels.

The Help

Tags

2010's, Allison Janney, Bryce Dallas Howard, Drama, Emma Stone, Jessica Chastain, Octavia Spencer, Sissy Spacek, Tate Taylor, The Help, Viola Davis

Film Title

The Help

Director

Tate Taylor

Starring

• Emma Stone as Eugenia “Skeeter” Phelan
• Viola Davis as Aibileen Clark
• Octavia Spencer as Minny Jackson
• Bryce Dallas Howard as Hilly Holbrook
• Jessica Chastain as Celia Foote
• Allison Janney as Charlotte Phelan
• Sissy Spacek as Mrs. Walters

A big-hearted and stirring movie that tackles racism and the efforts of someone to expose it, The Help provides a poignant and affecting film, aided by a superb cast of talented actresses.

Aibileen Clark is a black maid for a family in 1963 Jackson, Mississippi, who has endured great hardships but has largely kept her emotions under wraps as being maid is the only thing she knows and the only form of work she has. She finds company in her friend and fellow maid Minny Jackson, who is sassy and outspoken in comparison to her, but an excellent cook which is why she finds her employment. A friend of the family Aibileen works for, the young and fresh out of university Eugenia “Skeeter” Phelan returns home to pursue a career in writing. Yet in the social circle that Skeeter finds herself in, headed by the utterly vile and extremely racist Hilly Holbrook, she is something of an odd person, mainly due to the fact that she is more interested in writing than finding a boy to marry. After witnessing the prejudice that the black maids suffer on a daily basis from the white families that employ them, Skeeter finds a story to be discovered and written about. She wishes to write something that shows the feelings and opinions of ‘the help’ and expose what they go through. Determined as ever, she first asks Aibileen her thoughts on being a maid, of which Aibileen is apprehensive as she doesn’t want to lose her job for speaking out of turn. Good-natured Skeeter eventually wins Aibileen around with her persuasive tactics as she genuinely cares about what happens and wishes to make some sort of difference to the shocking treatment of black people. But in the climate of racism and prejudice, they must be careful that no one catches on to their plans, especially Hilly. They also recruit Minny, who has a few stories to tell in typically impudent fashion. Their writing and conversations soon lay the ground work for the book, as they skilfully avoid being caught by meeting in secret and quietly getting the opinions of other maids, who were first skeptical about speaking out. As the writing continues, Skeeter’s resolve strengthens until she won’t stop and with growing confidence and support from both Aibileen and Minny, the book is put in successful motion.

Tate Taylor’s direction is well-appointed and rendered with just the right amount of poignancy, that allows the characters to shine brightly and come alive. He does get a bit sidetracked with trying to sometimes be too light, but his direction is handsomely done all the same. There a few times when The Help misses an opportunity to really present the themes it has with more honesty and they get a bit lost in the whole thing, but by and large, it does a pretty commendable job with at least bringing most of it to the attention of viewers. I would have liked a bit more seriousness at various parts in the film, but the largely touching and inspiring story at least made up for that mishap. The Help certainly makes for moving and poignant viewing, as we really feel get to know the characters of Aibileen and Minny and are horrified at the treatment they endure by others, simply because of their skin colour. It is pretty staggering that it wasn’t actually that long ago that things like this happened when you think about it, and even today there is still prejudice in places. Some will say that the film is too glossy to have dramatic impact when it does have significantly moving material that sheds a light on determination to overcome racism. If anything, the bright colours throughout The Help, enable it to be a bit ironic as everything on the surface is nice, but the ugly truth of matters is far from it. The music in The Help is quite a contemplative part of it, with a growing emotion and feeling slowly emerging from the quiet.

Emma Stone is extremely appealing as the heroine and thrust of the narrative. Her Skeeter is a girl of understanding and doggedness, who gradually with gumption takes risks in ensuring that the story is told and recognized as a portrait of the hardships the maids have to deal with. Her bright eyes and quick mouth are also put to good use, with Stone getting some feisty one-liners to dispense to the circle of women she knows and all follow Hilly like loyal sheep. If Stone represents the spirit of the piece, Viola Davis is the beating heart of The Help. Her dignity, integrity and emotions are all projected with such beauty, poise and humanity that you can’t help but be moved and sympathise with. Her face registers so many feelings that dialogue isn’t needed to understand the hardships she has endured and how she has stoically battled away with grace and hope. Davis is a soulful and powerful performer and her work here is nothing short of amazing from start to finish. On scene-stealing form is an Oscar-winning Octavia Spencer, who is delightfully sassy and direct to the point. Her Minny is a character to root for and Spencer’s wit and depth is given fine voice and freedom as Spencer completely owns a lot of the show with her work. Bryce Dallas Howard savours the role of queen bitch Hilly and plays it to the hilt, becoming one nasty piece of work that you just want her to get exactly what she deserves. She reminds one of a cross between a Stepford Wife and a queen bee from high school, all packaged into a horribly vindictive package and realised well by the talented Howard. Jessica Chastain showcases her immense versatility by playing the ditzy but very personable Celia; an ostracized lady who hires Minny and treats her like any normal person would, in a respectful and kind way that isn’t based on prejudice or fear. Chastain imbues the role with a real naive sweetness, along with a complimentary wealth of sadness that makes you want to hug her. Celia is bullied by the disgusting Hilly who sees her as trashy and immature, when in reality she is a lot more likable, open-minded and mature in outlook than anyone thinks. Good support is provided by Allison Janney as Skeeter’s bossy but ill mother and especially Sissy Spacek as the dotty but amusing mother of Hilly.

So while it could have dug deeper into the issues it presents, The Help still ends up being a pleasing and moving drama about taking a chance and growing with courage in letting your voice be heard.

The River

Tags

1980's, Drama, Mark Rydell, Mel Gibson, Scott Glenn, Sissy Spacek, The River

Film Title

The River

Director

Mark Rydell

Starring

• Mel Gibson as Tom Garvey
• Sissy Spacek as Mae Garvey
• Scott Glenn as Joe Wade

An uplifting look at the human spirit and the resilience of it are brought to the table in The River, which at the time of release was a socially conscious film that looked at the plight of farmers and their lands, as there became a big call for other business. Some of the things in it don’t quite hold up and there are bits of melodrama that sink in, but The River regains its footing and due to the good work from the cast and

Tom and Mae Garvey are married farmers living on their land in Tennessee with their two young children. Their farm is placed in a precarious position as it lies adjacent to the river, which overflows every so often due to storms. The family struggle along but their unwavering resolve and strength keeps them in tact. Yet tough times are about to arrive in various forms that will test the Garvey’s more than ever before. Recently, the land value has dropped and with the terrible conditions slowly getting worse, many nearby farmers are forced to sell their land. On top of this, slimy land owner Joe Wade has his own plans to flood the family and benefit from the water supply, first trying to buy up all the land that he can. This is something that would put the Garvey family out of a home and a livelihood if it were to go through, but the stoic Tom( whose family has owned the farm for generations) refuses to budge. Part of this is due to fact that Joe used to be in love with Mae years before and animosity between the two men thwarted any chance of friendship. But as Tom has run up debt and supplies dwindle, he and Mae are forced to consider the offer. Refusing, Tom in order to get some extra money to keep the farm going, becomes a scab laborer. Difficulties become noticeable as his stubbornness to even consider Wade’s offer weighs heavily on him and his family. Mae tends to the farm, but as driven as she is, begins to see that the tough times are just beginning for everyone and that it is going to take a lot of work to stop the farm from being swept away. Can Tom and Mae make it through the testing times as the river threatens with intent and Wade keeps pushing?

With unfussy yet intimate directing, Mark Rydell gets us to relate to the Garvey’s in their plight. He unearths the way that their livelihood is so important to them, but how a change could also do just that. The constant wrestling of what they should decide drives a significant part of The River; with Tom standing firm but Mae at least teases the idea to save any more hardship. Now The River is no flawless movie it must be said and a few issues arise. The screenplay, as emotive and soulful as it is, can quickly become a little too black and white when it tries to bring in the politics of business vs the farmer’s resolve. I mean, I can understand the sense of heroism in there, but at times it completely neglects the other side which could have had currency, by becoming a bit melodramatic. The grey areas could have been explored in greater depth as well. Also, at two hours, The River a little too long for its own good and could have been trimmed a bit. All in all, the negative aspects of the film are easily put aside thanks to the heartening tale and sense of hope that emits through even the darker stages. Vilmos Zsigmond brings his assured and striking powers to the cinematography that greatly benefit the movie, by capturing nature as both beautiful and bleak sometimes at the same time. The deepening of the colour palette brings out the harsher and more dramatically driven areas of the story, yet the glimmering sense of something on the horizon for Tom and Mae remains in subtle fashion. John Williams is on score duties and successfully provides a rousing musical accompaniment to the journey of the Garvey’s as they battle adversity head on.

Mel Gibson does especially well in the role of Tom. Embodying an undying stoic and stubborn quality, he is often a flawed man who is trying to do the right thing. The fact that the character is often his own worst enemy aids the drama of The River and Gibson gets this across, while still generating a hardworking and heartening sympathy for the man. Farming and a sense of honor are in this guy’s blood and the fact that he stands up to fight, while being at odds with a lot of things, is quite inspiring. But for me the best performance in The River comes from Sissy Spacek. Her part of the farmer’s wife could have easily been relegated to the sidelines and contributed nothing, but the luminous Spacek breathes life and fresh air into Mae. With her expressive face, we glimpse her love for her husband and family as well as her unbending will, that is challenged significantly by the trying hardships endured. But although the character may look quiet and meek, she is the complete opposite. With Spacek in the part, the emotive quota goes up and her natural warmth and depth of talent are displayed in full glory in what is a winning performance of sincerity. Scott Glenn does quite well as the main villain of the piece, though it must be stated that there are times when all he needs is a moustache and an evil laugh, and he’ll become a joke. The character is not written particularly well, but Glenn being the good actor that he is, at least injects a little something else into a cardboard cutout.

A little over dramatic at times and a tad too long, The River nonetheless stands as a beautifully rendered movie, enlivened and given emotional clout by the vibrant visuals and performances, particularly the one from Sissy Spacek.

Coal Miner’s Daughter

Tags

1980's, Beverly D'Angelo, Biopic, Coal Miner's Daughter, Levon Helm, Loretta Lynn, Michael Apted, Phyllis Boyens, Sissy Spacek, Tommy Lee Jones

Film Title

Coal Miner’s Daughter

Director

Michael Apted

Starring

• Sissy Spacek as Loretta Lynn
• Tommy Lee Jones as Doolittle Lynn
• Beverly D’Angelo as Patsy Cline
• Levon Helm as Ted Webb
• Phyllis Boyens as Clary Webb

Based on the life of the queen of country music Loretta Lynn, Coal Miner’s Daughter emerges as a superb biopic, thanks in no small part to the Oscar-winning performance from Sissy Spacek and direction from Michael Apted.

Opening up in Butcher Hollow, Kentucky, we see Loretta as a 15-year-old girl and daughter of a coal miner, one of eight children living on a cabin on a hill. The family is poor, but make their best of what they have at their disposal. Loretta falls for Doolittle Lynn, most commonly referred to as Doo, and after a quick courtship, she marries the much older man. Her parents are none to pleased about this, but her father wants his daughter to be happy so allows the marriage. From the start of the marriage, there is turmoil and upheaval as arguments and raising four kids before she turns 20 takes its toll on the young Loretta. Doo is well-meaning despite his attitude towards his wife and buys her a guitar after seeing her talent for singing. Loretta is uncertain, but begins playing in honky tonks to much success. Doo persuades his wife to pursue a career and though reluctant, Loretta agrees. After securing a hit record, a whirlwind of publicity follows and Loretta soon becomes a huge star on the country music scene, eventually earning the title of ‘The First Lady of Country Music’. Yet with this new-found success comes a variety of problems such as keeping up her image, near exhaustion from constant touring and her tumultuous marriage which leads to a breakdown.

While Coal Miner’s Daughter covers certain familiar themes as other biopics such as a tumultuous life, it is the way that it is told that makes it stand out for the better. Michael Apted infuses the film with a personal feeling and thoughtfulness that lets the events of Loretta’s life play out with brisk assurance and revealing detail. He also keeps the drama from not being too in your face, instead settling for subtle insights into the eventful life that Loretta leads from the poverty of Kentucky to wild success as the country music queen. While there is plenty of drama to be found in Coal Miner’s Daughter, it never feels exploitative or melodramatic at all. Another asset to the film is that it is told in linear fashion, rather than over use of flashbacks that often cheapen other biopics. Through this strategy, we see the growth of Loretta over the years and are always fascinated by the facets of her life. The musical numbers are outstanding, especially from Sissy Spacek who shows off deft musical talent and a stellar voice that really blows you away.

In a role that earned her a well-deserved Oscar, Sissy Spacek shines with heartfelt delivery and quiet subtlety as Loretta Lynn. Displaying the girl’s initially naive view of the world and then her self-assurance, no-nonsense attitude and personal demons, Spacek is always riveting to behold. Required to age from a young girl to a grown woman, she does it with marvelous ease and we never once doubt that she is Loretta Lynn. Her previously mentioned music skill is amazing to behold, and Spacek gives the songs her all and succeeds all the way through. Tommy Lee Jones is well cast as her well-meaning but temperamental husband Doo, who does help her with her career but is prone to berating her and bickering with her on many an opportunity. Beverly D’Angelo is marvelous as Patsy Cline, who befriends Loretta and is often a key figure in advising her. D’Angelo also shows off her amazing singing voice, filled with passion and clarity. In the supporting roles as Loretta’s father and mother, Levon Helm and Phyllis Boyens exude tough but loving care for their daughter.

Told with heartfelt care and quiet power, Coal Miner’s Daughter becomes a tremendous biopic that is riveting to watch.

 

The Straight Story

Tags

1990's, David Lynch, Drama, Richard Farnsworth, Road Movie, Sissy Spacek, The Straight Story

Film Title

The Straight Story

Director

David Lynch

Cast

• Richard Farnsworth as Alvin Straight
• Sissy Spacek as Rose Straight
• Everett McGill as Tom
• Harry Dean Stanton as Lyle Straight
• Kevin Farley as Harald Olsen
• John P.Farley as Thorvald Olsen

A simple, heartfelt and endearing look at the strength of the spirit, The Straight Story marks a change in direction for David Lynch, who is usually known for surreal and controversial films. Incredibly based on a true story and boasting a restrained Oscar-nominated performance by Richard Farnsworth, the film is both poignant and relatable in equal measure.

Alvin Straight is an old World War II veteran living in Iowa with his daughter Rose, who suffers from a speech impediment. He is in bad health, being told that he is going blind and that his legs are failing by his local doctor. He is also informed that his estranged brother Lyle, who lives in Wisconsin, has recently suffered a stroke. Knowing that time is not on his side and desperate to heal old scars, the stubborn Alvin decides to take a rather interesting trip to visit his brother. As he can’t drive, he uses a trusted lawnmower and decides to embark on the odyssey alone, despite the pleas of his friends and family. What follows on is a beautifully realised road movie, peppered by interesting characters and Alvin’s affect on their lives as he attempts to reach his brother .

The cinematography used is exemplary in showing the natural beauty of Alvin’s quest, bathing fields in a hue of gold and capturing the sun emerging from behind mountains. The screenplay should also be praised for not falling into cloying sentimentality or melodrama, rather focusing on the immensely personal journey of one man who won’t let his age beat him. Above all, the thing that anchors the film is Farnsworth’s poignant, subtle performance. He creates an eccentric character who is old in years, yet young in spirit, mind  and determination. Knowing that Farnsworth was ill during filming and that he died a year after the film’s release adds another level of pathos to his already outstanding portrayal. Many moments of his performance stick in the mind, such as his moralistic lesson he gives to young bikers, his fireside chat with a runaway teenager about the importance of family, his funny handling of two bickering twins who try to charge him too much for repairs to his vehicle and the quiet tears he cries when chatting with an old veteran. Sissy Spacek is also touching in her supporting role, both showing the caring side of her and the scarred other side that life has inflicted on her.

With The Straight Story, David Lynch has created a heartfelt tribute to the themes of redemption and coming to terms with the realisation of one’s age. Although the basic premise may sound like uncharacteristic material for him, he actually crafts an emotionally moving tale that is hard not to like. The slow-moving pace of the film may put off some, yet it also helps create a beautiful and evocative testament to Alvin and his undying determination to complete his journey. All in all, The Straight Story was heartfelt viewing and I advise people to see it.

What are your favourite performances in a horror film?

Tags

Catherine Deneuve, Horror, Jack Nicholson, Mia Farrow, Sissy Spacek

I often think that performances can get overlooked in a horror film as a result of the scares of it. But I do think there are some effective performances that manage to stand out. So, what is your favourite performance from a horror film, whatever your opinion is please comment.

The performances off the top of my head, that I consider memorable and effective in a horror film are;

• Jack Nicholson as a writer who starts to lose his mind in a sinister hotel in  The Shining

• Catherine Deneuve as a repressed manicurist who begins to mentally crumble when left alone in her London apartment in Repulsion

• Mia Farrow as a naive newlywed who becomes convinced her neighbours have evil designs for her unborn child in Rosemary’s baby

• Sissy Spacek as a victimized young girl who uses her telekinetic powers to gain revenge on her tormentors in  Carrie