Edie Falco clearly misses her days on “The Sopranos.”
(2010) Drama (Screen Media) Elias Koteas, Embeth Davidtz, Edie Falco, Kathryn Erbe, Rachel Resheff, Wesley Broulik, Danai Gurira, Ron Phillips, Dana Eskelson, Randi Kaplan, Louise Millman, Pam La Testa, Antonio Ortiz, Nicole Brending, Kathy Searle. Directed by Eric Mendelsohn
The suburbs are quiet, peaceful places where we go to raise our children in an environment that is far from urban. Away from the noise and the hectic place, it is a place of lawn mowers, shopping malls and chain restaurants. Still, the peaceful facade can sometimes disguise the most painful of hearts.
Long Island is maybe the ultimate suburb. Being so close to New York City, it offers a respite from the concrete and asphalt, a bit of greenery and wildlife within shouting distance of skyscrapers and taxis. But for all the manicured lawns, the sweet songs of robins and blue jays, all is not perfect here.
Take John (Koteas). His marriage is far from perfect; he and his wife (Erbe) are always fighting and finances aren’t so good. He is going on a business trip but his flight is canceled. Instead of going back home, he checks into a hotel provided by the airline. Instead of staying put, he goes back home and stalks his own family and home. When he calls his wife, he pretends he’s on the plane instead of watching her from the shrubbery. What is he looking for? What does he expect to see? He retires to a diner where he overhears a young woman (Gurira) applying for a waitress position. He follows her out of the restaurant and becomes witness to tragedy.
A little girl (Resheff) impulsively steals some of her mom’s jewelry. Her inexplicable action causes her to miss her school bus. Scared of her crime being discovered (which it surely will if she is late for school), she determines to walk the distance via a shortcut she knows. She comes upon an intimidating young man (Broulik) masturbating in a shed. She also frees a stray dog tied to a tree. Both of these events will have consequences later.
Peggy (Falco) lives a life of quiet unfulfillment. She yearns for recognition, glamour, acknowledgement but instead must settle for a suburban existence of gossip and shopping. She paints as a means of expressing herself, but when a well-known actress (Davidtz) moves into the neighborhood, her imagination is excited. Then when the actress needs a lift to the ferry, Peggy volunteers to drive her, leading to a conversation that is much more revealing of Peggy than it is of the actress.
These three tales are not so much interconnected so much as parallels within the same environment. Mendelsohn’s first film, Judy Berlin, was made very much within the same kind of suburban purgatory as this, his second which follows ten years after the first. Notably, Falco stars in both films and is really the chief reason for seeing both.
All of the characters are for the most part drifting through their own landscapes, powered by their yearnings and melancholy. That pervasive aimlessness colors the movie and prevents it from really taking hold in the imagination, or at least mine – the movie has been well-reviewed and obviously it is connecting with critics other than myself, so take my own lack of connection with a grain of salt.
Falco, who most will remember from her television roles in “The Sopranos” and “Nurse Jackie” is one of the best actresses working today. That she isn’t doing more movie work is most likely due to her heavy television schedule, but she always puts on a marvelous performance and this is no exception. Her story arc is the most compelling of the three and she and Davidtz work well off of each other and even though much of her storyline puts her in a car having a conversation, it nevertheless has the most dramatic tension.
Koteas, a longtime character actor who has had moments of brilliance throughout his career, turns in another fine performance as John. While it is at times difficult to understand what is going on inside his head (which to be truthful is true of most of us in real life), we get a sense of his frustrations thanks to Koteas. John’s not getting what he needs in his marriage and career so he plays hooky one day, probably not understanding why he’s doing it himself.
There is a lot of passive-aggressiveness in the movie, if I may do a little armchair psychoanalyzing and that’s okay although it gets a little bit tiresome here. The dialogue sometimes doesn’t ring as true as it might – I get a sense of a writer trying to be clever rather than real people talking.
I also get a sense that there is a good movie here and I’m just not seeing it. Maybe I wasn’t in the right mood that day to absorb it properly, or for whatever reason I just couldn’t find a place to latch myself onto. That happens sometimes. I can’t really recommend the movie – I can only go by how I react to it and as you can probably guess, my reaction is fairly negative but those who like Edie Falco should see it and if any of this sounds appealing to you (particularly if you are looking for a suburban-set slice of life) do feel free to disregard my un-enthusiasm and give it a whirl.
WHY RENT THIS: Superior performances from Falco, Davidtz and Koteas.
WHY RENT SOMETHING ELSE: Meanders a bit too much. Dialogue a bit stilted in places.
FAMILY VALUES: There is one scene that has some sexuality involved but most of the rest of the film carries some fairly adult themes.
TRIVIAL PURSUIT: Mendelsohn is the only director to have won the Best Director prize at the Sundance Film Festival twice; for this film and also for Judy Berlin in 1999.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $43,073 on an unreported production budget; might have broken even but it probably didn’t.
COMPARISON SHOPPING: The Tree of Life
FINAL RATING: 4/10
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