(CBS Films) Brendan Fraser, Harrison Ford, Keri Russell, Courtney B. Vance, Meredith Droeger, Diego Velazquez, Jared Harris, Alan Ruck, Patrick Bauchau, David Clennon, Dee Wallace, Ayanna Berkshire, P.J. Byrne. Directed by Tom Vaughan
There are no limits to what a parent will do for their children. Once in awhile, there are situations that call for parents to demonstrate that, to risk everything for the sake of their children – particularly when everything is precisely what’s at stake.
John Crowley (Fraser) is a successful marketing executive at a pharmaceutical firm. He has reason to be in that particular business; his daughter Megan (Droeger) and son Patrick (Velazquez) suffer from Pompe disease, a genetic disorder in which the muscles are unable to break down sugars due to the lack of a critical enzyme. The disease is incurable and fatal. Megan has just celebrated her eighth birthday and is showing signs of entering the disease’s final stage. A respiratory failure nearly finishes her off, but she shows surprising fight. Most of the doctors involved in Megan’s treatment are advising Crowley to enjoy what little time he has left with his two sick kids.
He and his wife Aileen (Russell) are on the edge of despair but Crowley has found a lone researcher at the University of Nebraska, Dr. Robert Stonehill (Ford) who has formulated some radical solutions for a possible treatment. It is the closest thing to hope that Crowley has found, but repeated calls to the good doctor have gone unanswered. Taking the bull by the horns, the desperate father goes to Lincoln to meet with Stonehill, only to be stonewalled. Crowley chases him out of the university parking lot and finally corners him in a bar. Stonehill is gruff, but sympathetic. He is nowhere near producing a working drug, and the money it would take just to set up testing for the drug – half a million dollars to start – is prohibitive. Without batting an eyelash, Crowley tells Stonehill that he has started up a foundation that is in the process of initial fundraising and that he could raise the necessary cash. Stonehill gives him a month to do it, but is skeptical that Crowley will raise anything at all.
Instead, Stonehill and his wife roll up their sleeves and get to work. They run fundraising events and call friends, colleagues and parents of children with Pompe like Markus (Vance). They don’t quite make the goal, but they raise $91,000, enough to at least keep Stonehill involved. Instead of doing research at the University, which Stonehill believes doesn’t value his work, he decides to start a new biotech company with Crowley as his business partner. This will mean that Crowley will have to quit his job, which his boss (Ruck) pleads with him not to do; Crowley is on track to get a promotion and a significant upgrade in salary. Crowley however is not swayed; if there is even a shot of saving his kids he has to take it.
The new startup needs to raise some venture capital in order to get off the ground. They approach the Renzler Group in Chicago, headed by Dr. Renzler (Clennon), an old friend of Stonehill’s. The meeting goes disastrously however when Dr. Stonehill has a meltdown when he is questioned about the new start-ups plans to get the drug to market. Stonehill, a career academic and scientist, has never done this before, and the group is understandably nervous about the prospects of investing money in a company whose principals are woefully inexperienced.
In order to get Renzler on board, which Crowley knows is critical for the start-up company’s very existence; he has to give Renzler far more concessions than Stonehill is willing to give. He manages to broker an agreement with Dr. Renzler, but Stonehill is furious at the terms and wants no part of the deal. Crowley responds that he can continue his career of curing diseases in theory but not helping a single patient in reality. Mollified somewhat, Stonehill signs the agreement.
They set up a lab in the middle of Nowheresville, Nebraska and things aren’t going well. They are running through their funds at an alarming rate and their investors are demanding that clinical trials begin on Stonehill’s enzymes or they will pull the plug. Crowley is aware that there is a large biotech firm that has been working on a Pompe treatment as well; better funded and better equipped, they might well reach the market before Stonehill’s group with some sort of treatment. Aware that Stonehill’s theories and scientific genius are salable assets, he convinces Stonehill that in order for their small company to survive they will have to sell themselves to the larger company. Stonehill blows yet another gasket but once again gets on board with the program.
Crowley and Stonehill don’t fit in well initially. Stonehill hates being bogged down with protocols and procedures, while Crowley is constantly butting heads with Dr. Webber (Harris), an executive who is more of a bureaucrat. Time is ticking down on Crowley’s children and he is becoming desperate. Can they come up with a treatment in time to save the Crowley children?
This is the first release by the new film arm of the CBS Network, and some have snickered that it has a bit of a TV movie-of-the-week smell to it, but that’s not completely true. I thought there were a lot of positives to be sure.
This movie is based on a true story, albeit very loosely. While John Crowley and his children are real, Dr. Stonehill is not. He is an amalgam of several scientists, in particular Dr. Yuan-Tsong Chen at Duke University. In reality, Pompe kills most children before their second birthday; Megan and Patrick are eight and six, respectively, in the film,. In perhaps forgivable license, Megan is aged so that she may display spunk and wisdom beyond her years to evoke more symathy from the audience and to be sure Droeger does a credible job in the role.
Ford is an actor who knows his own limitations, but he is also conversely well aware of his strengths and this role is right in his wheelhouse. Stonehill is grumpy, cranky, narcissistic and just plain ornery. Ford imbues him with all the gruffness that he can give him, which is considerable. Nobody does gruff quite as well as Harrison Ford. And while critics have been picking on Brendan Fraser, I think he did a credible job as the desperate father. Sure, there were some maudlin moments but I think that was a function of the script more than a reflection of Fraser’s abilities as an actor (check out Gods and Monsters if you want to see him at his best). What’s criminal here is that Keri Russell, an actress who is wonderful whenever she is given something to work with, is once again shuffled off into the background without much to work with. As anyone who saw her in Waitress will tell you, she is absolutely capable of carrying a movie, so it’s a shame she is reduced to mainly playing a doting/grieving mom. There is a scene in which she and her husband are interrupted in the course of having a rare intimate moment by a nurse coming to their home for her shift; it was one of the few moments when you got a sense of the relationship between John and Aileen Crowley.
Where the movie excels is in its portrayal of the pitfalls, obstacles and long odds that face the development of an orphan drug, and the road it must take to make it into the pharmacies. I found some of the boardroom scenes more provocative than the medical ones, which is fine by me.
It also has to be said that the movie is a little soft on the pharmaceutical industry in general. It should be noted that the drug that was actually developed for Pompe patients, Myozyme, costs about $300,000 a year and must be taken for the entirety of the patient’s life. There have been instances in which American insurance companies have refused to pay for the treatment, which is a death sentence for the patient and yet another talking point on why health care reform is so badly needed in this country (for the record, most other developed countries provide Myozyme for those who need it).
There are some very powerful moments, particularly when the Crowleys are in despair. Once in awhile there is a touch of the maudlin in the brush but the canvas isn’t affected by the unwelcome addition as much as you might think. Still, the film might have benefitted from less dramatic license and more of the struggle not only to find the cure but in getting it funded. Less would have definitely been more in this case.
FOR MORE ON THE CROWLEYS FOLLOW THIS LINK: The Crowley Family Website
REASONS TO GO: An intriguing glimpse at how orphan drugs are brought to the market. Very powerful in places from an emotional standpoint.
REASONS TO STAY: Occasionally veers from emotionally powerful to maudlin. Russell, a fine actress in her own right, is given very little to do. Many liberties are taken with the facts of both the disease and the Crowleys’ story.
FAMILY VALUES: There is a little bit of foul language, but some children may find the frank treatment of the Crowley children’s condition a bit disturbing.
TRIVIAL PURSUIT: P.J. Byrne, the actor playing the Crowley children’s physician, has a cousin who is actually treating the real-life Crowley children.
HOME OR THEATER: Nothing here screams big screen.
FINAL RATING: 6/10
TOMORROW: The Book of Eli