A Violent Separation


Carrying her across a different threshold.

(2019) Crime Drama (Screen Media) Brenton Thwaites, Ben Robson, Alycia Debnam-Carey, Claire Holt, Ted Levine, Gerald McRaney, Francesca Eastwood, Michael Malarkey, Peter Michael Goetz, Isabella Gaspersz, Lynne Ashe, Carleigh Johnston, Cotton Yancey, Silas Cooper, Jason Edwards, Kim Collins, Morley Nelson, Bowen Hoover. Directed by Kevin and Michael Goetz

 

The backwoods hide its share of secrets. Sometimes, when the wind is blowing just right you can swear you hear the trees whispering about dark deeds done in the dead of night, of murder, mayhem and cheating hearts.

Ray Young (Robson) is one of those country boys whom trouble just seems to follow. He’s a man who likes to drink and has a hair-trigger temper, not a great combination. He’s done some jail time for petty crime and makes up “the usual suspect” in the small Missouri town he lives in. His younger brother Norman (Thwaites) couldn’t be more different; a straight-arrow deputy sheriff who is painfully naive, romantically awkward and a bit exasperated by his hot mess of a brother.

Ray is on-again off-again dating Abby (Holt) who is a single mom whose baby daddy is Cinch (Malarkey), a construction worker built in Ray’s mold – this girl sure can pick them. Her younger sister Frances (Debnam-Carey) is quiet, upstanding and of course the object of Norman’s affection, although much of what she jokes about goes sailing over his head. Abby and Frances live at their childhood home where they take care of seriously ill patriarch Tom (McRaney) who trundles an oxygen tank wherever he goes but is not above roaring his disapproval over one thing or another at the sisters, particularly when Frances has the temerity to take away his smokes.

After the four young people go out for a night of drinking an dancing at a roadhouse charmingly known as The Whispering Pig, Ray predictably makes out with a barmaid (Eastwood) and gets into a fight that Norman has to come to his aid for. Furious, a drunk Abby gets into her car and peels out of the parking lot, leaving the other three behind.

The next day a badly hungover Abby takes her dad’s pistol and lambastes an equally hungover Ray, nagging him to teach her how to shoot which he is reluctant to do. The two drive into the woods where a terrible accident occurs. Ray panics and calls his brother to help him cover up his involvement. In a moment of weakness, Norman agrees to.

The town sheriff (Levine) is a pretty smart cookie and he begins piecing together the crime from the few clues that have remained. Norman, as a cop, knows how to stage a crime scene and manipulate an investigation. While the Sheriff (and a few other people) are certain that Ray had a hand in what happened to Abby, nobody suspects Norman. As time goes by and the trail goes cold the romance between Norman and Frances begins to heat up. However, the guilt both brothers are feeling begins to bubble to the surface and threatens to expose what they’ve both done.

The brothers Goetz seem to be waffling between Southern Gothic and neo-noir when it comes to tone and ends up being neither. For some odd reason, they decided to set the film in Missouri but filmed in Louisiana an it looks like Louisiana – why not just set it where you filmed it? Nobody cares overly much. Secondly, most of the main cast (with the exception of Levine and McRaney) are British or Australian. Not that the cast members (mostly of basic cable and TV pedigree) from across the various ponds can’t handle these very American art forms, but it just seems a curious thing hauling them all the way to the backwoods of Louisiana.

Actually, the cast is pretty decent although it is the veterans McRaney and Levine who steal the show. Robson and Thwaites capture a brotherly dynamic that feels authentic; having directors who are themselves brothers probably has a lot to do with it. The movie is reasonably suspenseful as the brothers come closer to cracking, although the “twist” ending feels forced and much of the movie loses its punch because of the melodrama that tinges the entire production.

There are moments of cinematic beauty which are provided by cinematographer Sean O’Dea; however, Evan Goldman’s score is intrusive and a little bit annoying. Overall this isn’t all that bad but there aren’t enough good things about it that really make it stand out among all the other movies that are out there at the moment. Fans of the various shows the young actors are in might get a kick out of seeing them in very different roles than they’re used to but otherwise, this one’s pretty much a toss-up.

REASONS TO SEE: The cinematography has some lovely heartland images.
REASONS TO AVOID: Really doesn’t add anything to the genre.
FAMILY VALUES: There’s a fair amount of profanity, some violence and a couple of disturbing images.
TRIVIAL PURSUIT: Peter Michael Goetz, who plays Riley Jenkins, is the father of the directors.
CRITICAL MASS: As of 5/20/19: Rotten Tomatoes: 11% positive reviews: Metacritic: 28/100.
COMPARISON SHOPPING: Murder by Numbers
FINAL RATING: 6/10
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Aniara

A Separation (Jodaeiye Nader az Simin)


A Separation

Leila Hatami and Peyman Moaadi react to questions from the press as to whether she's a natural redhead or not.

(2011) Drama (Sony Classics) Leila Hatami, Peyman Moaadi, Shahab Hosseini, Sareh Bayat, Sarina Farhadi, Marila Zare’i, Ali-Asghar Shahbazi, Babak Karimi, Kimia Hosseini, Shirin Yazdanbakhsh, Sahabanu Zolghadr, Mohammadhassan Asghari. Directed by Asghar Farhadi

 

Human relationships are very complex and fragile things. They are constantly changing and often confusing. We are all alike in that regard – whether we live in the United States or China or Iran. We are all slaves to our emotions.

Nader (Moaadi) and Simin (Hatami) are in an adjudicator’s office in Teheran. Simin wants a divorce. It’s not that Nader is mistreating her or that they don’t care for each other. It’s just that Nader’s father (Shahbazi) has Alzheimer’s and he’s not willing to leave him to the tender mercies of the Iranian public health system. She wants to move abroad where their daughter Termeh (S. Farhadi)  has a better opportunity to make something of her life. However, since Nader won’t agree to letting Termeh go Simin moves in with her mother (Yazdanbakhsh) instead.

Nader has to work and even if Termeh didn’t have school she is only 11 and far too young to watch over an Alzheimer’s patient so Nader hires Razieh (Bayat) to keep an eye on dad and do a little light housecleaning. Razieh is an extra-devout Muslim whose chador hides a secret. She lives in a dicey part of the city so the commute is nearly two hours long each way.

Her family desperately needs the money. Her husband Hodjat (S. Hosseini) is a cobbler who has been out of work for six months and his creditors are threatening to take him to jail. She brings her young daughter with her but the strain of caring for the old man and the house proves to be too much for her.

One day Nader comes home early from work and finds things in chaos. This leads to a confrontation with Razieh that has unforeseen consequences for both Nader and Razieh as well as both their families. Consequences that might not be entirely predictable.

This was the most recent recipient of the Best Foreign Film Oscar and deservedly so. This is an incredible piece of filmmaking. It isn’t just the story or the setting that grabs your attention, it’s also the way the story is told. Asghar Farhadi is a legitimate talent, one who understands his craft well and is a master at it. He knows which facts to let you know and which to hide so that when the final denouement comes, you are not so much surprised as you are thrilled.

In the hands of a Hollywood studio this would probably have been a by-the-numbers thriller as Nader races to discover the truth about Razieh and he would have ended up with the girl at the end. Instead, this is a slice of life about deeply flawed people interpreting events in their own way with their own self-interest front and center. In other words, they act the way people all over the world would act – including here in the good ol’ U.S. of A.

There are going to be some who will be tempted to turn this into an indictment of Iran and Sharia law (I’m looking at you, Bill O’Reilly…Rick Santorum…etc. etc.) but this isn’t really that. Certainly the justice system in Iran is imperfect – but then again, so is our own. Any legal system that has jurisdiction over other human beings is going to be flawed by definition – people are flawed. Whenever you have laws that are inflexible being interpreted inflexibly justice is going to suffer. It isn’t like every case that goes before an American judge winds up exacting justice.

The movie is well-acted with particular kudos going to Hatami who not only resembles a young Susan Sarandon facially but also in her inner strength and conviction. Simin is a formidable woman who wants only the best for her daughter and her family; she understands Nader’s stubborn stance but doesn’t share it. She places more importance on her daughter than on her father-in-law which is at the crux of the divide between Simin and Nader.

Nader doesn’t look at his stance as a choice between two people; the fact that he is taking care of his father who has nobody else to care for him is the right thing to do. His daughter not only understands but supports this – she is given the opportunity on several occasions to leave and go with her mother but never takes it.

On the other side of the fence Razieh is completely devout whose actions are for the most part charted by the Quran until desperation forces her to do something of which she knows her husband will not approve. She is intimidated by Hodjat but when it comes to her faith nothing can dislodge her leading to a crucial scene near the end of the movie. Hodjat is a hothead who believes strongly that his wife has been wronged and is tired of being stepped on by those in positions of power and authority. He is like the man the world over who has been kicked once too often – at some point you have to stand up and say enough, which is exactly what Hodjat does.

All of the characters withhold information from one another, choose to interpret things in their own way and are mulish about what they believe. This isn’t a film about compromise – that never enters the equation here. This is about people caught up in a situation that spirals out of control largely due to their unwillingness to face the reality of their circumstances (and yes I’m being deliberately vague as to not spoil some of the more intense plot points). These particular humans live in Teheran but they could as easily exist in Atlanta, or Rome, or Kyoto. But that is not the heart of the message director Farhadi is trying to deliver; that’s merely a corollary that comes with it.

I was mesmerized from beginning to end. This is one of those movies that simply takes you down a path that looks everyday and familiar and gives it a gentle tug until things start to unravel. That’s pretty much the way real life works as well. There are those who are going to avoid this movie just because it comes from Iran. People like that should remember that our grievances are with their government, not the Iranian people – and this movie is very much an insight into those people. We turn away and refuse to learn from it to our discredit.

REASONS TO GO: A powerful film that depicts Iranian life warts and all. Well-directed and well-written, hitting all the right notes.

REASONS TO STAY: Mostly shot with hand-held cameras, creating some dizzy-making shaky cam effects.

FAMILY VALUES: The themes and situations might be a bit too much for all but mature children and teens.

TRIVIAL PURSUIT: Termeh is played by the directors daughter. She was one of the recipients of Best Actress (ensemble) at the 2011 Berlin International Film Festival, one of three Bears won by the film, the first movie ever to accomplish that feat.

CRITICAL MASS: As of 3/15/12: Rotten Tomatoes: 99% positive reviews. Metacritic: 95/100. The reviews are sensational.

COMPARISON SHOPPING: The Syrian Bride

LAW LOVERS: A fairly intense and dispassionate look at how Sharia law actually operates.

FINAL RATING: 9.5/10

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