Customer Reviews

House of Sand and Fog

5 star:		(129)
4 star:		(70)
3 star:		(34)
2 star:		(25)
1 star:		(34)

 

 

With the exception of Niki Caro's sublime "Whale Rider," no movie moved me more this past year than Vadim Perelman's "House of Sand and Fog." This story of a broken and desperate young woman who loses her house because her depression won't allow her to simply open her mail and the determined and steadfast Iranian colonel who strives to secure a better life and future for his family is a cacophony of raw emotion and heartbreak. Further, it is a meditation on what is important in life and how easy it is--no matter the intentions--to forget that very thing.

This is a movie that is well photographed, beautifully adapted from Andre Dubus III's Oprah-approved novel of the same name and stunningly helmed by first time feature director Perelman. But "House" is a film that is anchored by its performances. There is hardly a false note in the acting (Ron Eldard occasionally seems overwhelmed by the powerhouse actors who surround him, however his work is still convincing). Jennifer Connelly conveys Kathy Niccoli's despair wonderfully. You can feel the depression wholly consuming her.

Ben Kingsley is superb! The scene in the hospital near the end of the film is a master class in acting. Kingsley's work is brave throughout the film--he allows the audience to see Colonel Behrani's flaws and hold him accountable for them while also helping us to understand that his ambition, his dreams and desires are to serve the needs of his family. It is among the most dynamic work by an actor in any year.

As fine as Kingsley is, however, my favorite performance of last year and now one of my favorites of all time has to be the stunning work by the invaluable and flawless Shohreh Aghdashloo. In her role as Behrani's patient and loving wife Nadi, Aghdashloo is grace under pressure. I dare you to catch this marvelous actress acting. She is the heart and soul of this film. It is through her expressive eyes that we understand what is at stake and what a home and family truly means. In dialogue that blends Farsi and broken English, Aghdashloo's Nadi is heard loud and clear, there is no mistaking anything she is thinking or saying. Let's face it: the Academy screwed up royally by awarding Renee Zellweger the Best Supporting Actress Oscar for her Granny Clampett-ish Ruby in "Cold Mountain" (I say this completely realizing that Zellweger singlehandedly saved "Cold Mountain" from its own pretention). The devastatingly beautiful Aghdashloo far and away claimed the prize with the superlative work she delivers in each and every scene she steals. Here is hoping that Hollywood keeps this major, major talent working for years and years to come.

Buy/rent "House of Sand and Fog," which also boasts a very fine performance by young actor Jonathan Adbout as Kingsley and Aghdashloo's son, Esmail. Despite its heavy subject matter, it is a dynamic piece of filmmaking complete with some of the best performances of last year. This film haunted me for weeks after I saw it, and it has yet to release my thoughts completely.

A job well done!

This is an emotionally wrenching movie...utterly fascinating and devastating. Some critics have blasted the movie for having an over-the-top or far-fetched ending. The ending is quite devastating, but it is totally convincing and earns its "tragedy" the old fashioned way...by making us care VERY much for the characters.

You probably know the basic plot. Jennifer Connolly, a recovering addict who is still in deep depression, has ignored pleas to pay taxes on the home she inherited from her father, and is suddenly evicted with no place to go. The house is bought by Iranian emigree (and former colonel and confidant of the Shah) Ben Kingsley, as a way of bringing his family a little closer to the American dream.

Kingsley has no idea the circumstances under which Connolly loses her house...he's got things pretty rough himself. Some early scenes in the movie beautifully show the dignity with which Kingsley endures two horrible jobs...working on a road crew and in a convenience store. This is a proud man, a formerly important one, who strives mightily to keep up appearances...not just for his own pride, but so that his daughter can marry well and so his son can go to university. He is a prickly man, no doubt, but noble.

Connolly realises that the house was really the last lifeline holding her to some semblance of sanity. She readily admits that she didn't even take good care of it, but upon losing it, she becomes obsessed with getting it back.

She is joined in this by the cop who initially helped evict her, played by Ron Ellard. He has his own problems, including what he considers to be a shaky marriage. His attraction to Connolly turns into an obsessive need to prove his worth to her by getting her the house back. No matter what!

I will say right here and now that this is the best acted film of the year. 21 GRAMS was no slouch in the acting department and MYSTIC RIVER was darn good too. But these performances totally drew me in. I found myself leaning forward in my seat in anxiety and empathy. My wife gasped several times during the viewing, as the inevitable tragedy began to unfurl. We both wanted things to change. We were INVOLVED.

Connolly is terrific as always. She's a beautiful, quiet actress, who has a few moments in this movie that are so raw and stunning...her reserve finally comes down a bit. The actress who plays Kingsley's wife (sorry, I don't have her name handy...my grievous error) is FABULOUS. She MUST get nomitated for an Oscar...and she MUST get more work her in the states. I was absolutely floored. And the young man playing their naive, noble son is wonderful as well. Torn between loyalties and eager to prove himself...he is a true heartbreaker.

Ron Ellard is fantastically unlikeable, and that's perfect for the movie. He holds his own quite well.

Ben Kingsley, in my opinion, deserves the best actor Oscar. His colonel has so many layers, but Kingsley lets us see them all, playing just below the surface. His character is the opposite of his explosive work in SEXY BEAST. There everything was on the surface...here it's hidden beneath his impossibly straight back and intense eyes. I've always liked him a lot as an actor, but this film, I believe, puts him on yet a higher plane. He is one of the greats!

GO SEE THIS FILM!!

You may have never heard of "House of Sand and Fog" as it went over the heads of mainstream audiences as quiet and transparent as the fog itself. But it is worth an extra squabble or two to hunt and experience this movie playing in very limited theaters near you (it is available on DVD right now). Based on a book with the same name by Andre Dubus III, picked by Oprah as her book club selection, this is a very powerful albeit depressing movie that will greatly satisfy those who are craving for an antidote for the usual fun and safe movies. This is a "feel bad" movie, not a "feel good" one, that will leave you very angry and miserable for days to come. Yet, you choose to, because that is exactly the point. The ugly side of human nature is not a pretty thing.

Massoud Amir Behrani (Ben Kingsley) is a former colonel in the service of Iranian Shah who fled from his country with his wife Nadi, a seemingly spoiled yet very kind woman, and his son Esmail to America. As an immigrant, now living in a country where racism, prejudice and cultural differences seep through quietly yet painfully, Massoud tries to maintain his dignity and pride by working as a road maintenance by day and a cashier at a convenience store by night to provide a good future for his family.

His determination for the American dream rises as he sees a money-making opportunity when he stumbles upon an auction of a house confiscated by the county to pay back taxes. Massoud buys it and fixes it and plans to sell it four times than the original cost. All is well if it isn't for the fact that the house is owned by Kathy Nicolo (Jennifer Connelly), who inherited it from her deceased father eight months ago. Unfairly evicted by the government just because she couldn't pay her taxes that she shouldn't have been charged for in the beginning, Kathy, an emotionally broken, reformed alcoholic whose husband left her, is now homeless with no money.

The two characters collide like train wreck as Kathy starts to stalk the family, desperately wanting the only stable thing in her life, and Massoud refusing to step down from his decision because it is a necessity for his family. Adding to this, enter a married cop named Lester, whose infatuation of Kathy begins to teeter, corruptly using his profession to threaten Massoud of deporting him and his family back to Iran if he doesn't give the house back.

This combination of three characters kicks off the storyline into high gear, culminating into an unbearable aftermath of tragedy after tragedy (and tragedy after tragedy...I could go on) as a result of pride, selfishness, self-destruction, obsession and misunderstanding. All because of a house, a building that is not just an inanimate structure, but a symbol of security, comfort and dreams. For Massoud, it is a measure of his stature, pride and obtaining American life. For Kathy: an inheritance, hope and sanity.

Under the assured guide of first-time director Vadim Perelman, a Russian who immigrated here in Canada, the characters are surprisingly very real because they aren't portrayed through the usual black and white mentality of good guys are just heroes and bad guys are just villains. The grey area is explored magnificently, our hatred of them switches to empathy and sympathy and vice-versa; we all want them to go through this unscathed (even though we all know this is not the case). These are human beings; smart, civilized and good human beings, whose stupid decisions they commit causes unknowingly severe damages in their own lives and to each other's as well, much to our dismay and sadness, just like what we do in real life.

All actors, notably both Ben Kingsley and Jennifer Connelly, deliver great performances, making this is an electrifying Shakespearean tragedy, highly superior to generic Hollywood weepers, because of their respect for the heavy subject matter and of not playing one-note characters. One can say that Jennifer extends her persona from her character in "Requiem for a Dream". She cries, panics and cries again. But she adds a complex texture of pathos and fragility to her character, that it is not worth the qualms. She is a great actress whose ethereal beauty communicates the underlying emotions of a sad, tragic character. Ben, is of course, one of the best actors ever, gaining a well-deserved Oscar nomination this year. After all, he is Gandhi himself. He is a knock-out as the stubborn but well-intentioned father. This duo is what I call "Bennifer", a miraculous contrast to the other "Bennifer" whose vanity project is the "Ishtar" of the next generation.

The technical aspects of the movie, which are done expertly and all worth applauding for; the haunting, eerie and moody cinematography, the luminous and beautiful transitional shots of the fog rolling on the horizons of the bay, the score by James Horner providing a searing and sinister counterbalance to the restraint and subtle emotions that are eventually going to explode in the end of the movie, are just icing on the cake. It is the capability of the actors that validates us to fully participate with our hearts and minds (and perhaps also to justify that it IS worth sticking with such sadness and misery).

A very beautiful thing to look at, a thought-provoking play of morality, law and culture worth discussing for hours, and an unbelievably painful and excruciating experience to take part in (for good reasons), "House of Sand and Fog" is an intelligent and unique film that features among the most realistic characters in recent cinema, all we weep for by the end.

Witness the heavy whiff of the fog that is both mesmerizing and slated for doom. It also wouldn't hurt to bring your own bottle of Prozac (and perhaps a comedy marathon afterwards)!

If you can take extreme sadness and tragedy then you'll love "House of Sand and Fog," a powerful drama from first-time director Vadim Perelman.

It's about a fight, basically. A verbal, psychological, and, eventually, physical fight over a house that is needed desparately by two people: Kathy Nicolo (Jennifer Conally), who is wrongly evicted from her dead father's home (passed down to her) after failing to pay taxes that she shouldn't have been charged for in the first place; and Mr. Behrani (Ben Kingsley), a former Colonal from Iran who fled his country with his wife, Nadi (Shohreh Aghdashloo), and teenage son. And as they fight ruthlessly over the home, a third person comes into the picture: a man named Lester (Ron Eldard), a person left empty in an unhappy relaitionship wanting to find true love. And he finds this in Kathy, and will stop at nothing to get the house back for her (in an attempt to completely win her over). Ethics, law, and (most importantly) culture play into the story that all falls into a pit of despair and sadness.

What's best about the film is the acting. Kingsley is incredibly convincing and makes every bit of his storyline and personality ultimately real. Conally, also, makes her emotions and life seem disturbingly (and sadly) realistic. Both were so good, in fact, that they equally deserve nominations for this year's Acadamy Awards.

But the one performer who most deserves an Oscar is Shohreh Aghdashloo, an actress unknown to us in America (she is famous in Iran, apparantly). She steals every scene she's in, such as the silent, awkward feeling of being in a room with Kathy or her pain and suffering over Behrani's bad decisions. You can feel her emotion run through your body and out your eyes in the form of tears, tears of pity. And that is her advantage for the Oscars this year (hopefully). She is the one character anyone can sympathize for in every situation. She does nothing wrong, and must sit and watch everything around her fall apart, a helpless feeling I'm sure no one ever wants to feel. She was truly amazing.

The director, Vadim Perelman, swoops into the entertainment scene with an amazing debut, a la Todd Field in 2001 with his first movie, "In the Bedroom." Actually, that film and this one are connected in backstory: They are both based off of prose written by someone from the Dubus family line. If you see this, there's no doubt you'll be watching out for him. He's an obvious talent, making a tragic story such as this all the more effective.

I must also point out two technical aspects of the film: the score and cinematography. The score is the best I've heard all year. It is obviously inspired from both cultures portrayed in the movie, and adds tension and emotion where needed. The cinematography is, in a word, mesmerizing (sp?). There are constant shots of fog and ocean and the Golden Gate Bridge that come off as beautiful, but dark, perfectly expressing the tone of the film. One shot that stayed with me throughout was of a stone birdbath filled with green, murky water with nothing but a white feather floating calmly in its center. Words can't express what it made me feel. It was, simply, haunting.

So the bottom line is that you'll enjoy this if you appreciate great acting, a powerful story, and can take tragedy after tragedy after tragedy, something the critics found over-the-top. But if you add everything up towards the end and have a pretty good understanding of backrounds and both cultures viewed from both POV's in the film, then you'll find it logical and purely powerful. I hope I've helped with this review and I hope you enjoy "House of Sand and Fog" as much as I did.

When previews for "House of Sand and Fog" began airing in theatres two months ago, I evinced little interest. I had not read the novel by Andre Dubus, nor was I particularly moved by (or indifferent to) the plight of Colonel Behrani, magnificently portrayed here by Ben Kingsley. Like many forty-somethings for whom the idealism of the 1960s has been partially supplanted by harsh reality, I was hardened by my own fears and suspicions as the film's opening scenes rolled across the screen.

It didn't take long for the deposed Colonel to validate those perceptions.

As the erstwhile officer to the Shah of Iran whose life was destroyed by political upheaval, Behrani is now residing in the U.S., forced to toil in a series of dead-end jobs to make ends meet. When he leaps at the chance to purchase a repossessed house from the grasp of a recovering alcoholic (played with great skill by Jennifer Connolly), one feels sympathy. He isn't aware that the house was wrongfully seized through bureaucratic error. On the surface, Behrani seems to be a proud and dignified man whose profound desire to restore honor and prosperity to his family is a noble aspiration. However......

It doesn't take long for the overweening patriarchy typical of so many middle eastern cultures to rear its ugly cranium. When the devoted husband screeches at his wife to "shut her lips" after having the temerity to question his dictates, my flesh curdled. When the displaced Colonel coldly dismisses the rightful homeowner's attorney (played ably by Frances Fisher), I felt vindication when the legal eagle proudly informed Behrani that she indeed WAS the attorney - and this was HER office. (The concept of professional women is evidently anathema to the beleagured Behrani.)

Slightly more than halfway through the film, when Behrani corrupts an otherwise tender scene with his son via an anti-American discourse that validated my own worst fears, my heart became colder than a thousand icebergs (including the one that sank the Titanic). Again and again, as the film hurdled to its defining tragedy, I said to myself, "I don't care what happens to this character." I didn't wish impending doom upon Behrani, yet I was indifferent to his fate.

Until one cataclysmic scene that tore the screen (and my hardened heart) wide open. Only an actor of superior skill and instinct could do what Kingsley does here: in the film's closing scenes, the Oscar-winning thespian blows away the cultural differences and life experiences that divide us. The audience (including myself) was rent asunder. Kingsley is that good.

Yes, this is a film about human weakness and folly - and the price these deficits enact. (Ron Eldard, portraying a rogue cop who drifts into an affair with Connolly's character, demonstrates this ably. His disastrous attempts to "help" Connolly consist, essentially, of holding a mirror to her face and entrapping her in her own vanity.......and ennui.) The errant policeman (and others like him) also prove that cultural elitism isn't confined to Behrani. Disrespect for human life pollutes all societies, and is the seed of self-destruction.

I shall always remember "House of Sand and Fog" for Kingsley's vivid portrayal...and for one defining, heart-rendering scene that engulfed my soul when I no longer believed it to be possible. That, in my view, is one of the marks of cinematic excellence.

"House of Sand and Fog," directed by Vadim Perelman, is based on a novel by Andre Dubus III. The film stars Ben Kingsley as Col. Behrani, a former Iranian military officer under the Shah who now lives with his family in the United States. He buys a house from a government source, not knowing that the property was improperly seized from its prior owner (Jennifer Connelly). This bureaucratic nightmare sets up a personal conflict that drives the film.

"House" is a beautifully crafted film, rich in detail and visual impact. But what really makes it shine are the excellent performances. Connelly makes her wounded character's pain palpable. As the colonel's wife, Shohreh Aghdashloo brings out both the inner lamb and lioness of the character. Frances Fisher brings a steely authority to her small but memorable role as an attorney. But it's Ben Kingsley who most impressed me. He gives a rich, multifaceted, full-bodied performance; he explores his character's aspects as husband, father, warrior, businessman, and immigrant in a way that creates a memorable and believable person.

I found some plot points to seem a bit forced and hard to believe, but overall the superb craftsmanship of the film and its amazing performances really carry "House." This is a drama with moments of shocking intensity, as well as scenes of fierce anger and searing pain. But there are also scenes of real compassion and tenderness. It's a powerful story and a compelling use of the motif of the immigrant experience in America.

I very rarely rate a film as 5 stars, but I knew from the opening scenes that from a production sense, the film was at least 4 stars. As the movie went on, I found myself intensely absorbed by the complex layers and emotional shifts of all the characters. The acting was first rate, the screenplay seamless, and the photography was impressive. I for one felt the ending was reasonable for the characters portrayed, and I certainly think the portrait of Kathy's addiction and manipulation, along side her campassion and intelligence drove powerful and frustrating emoitions in me.

The item that drove me to the 5 star rating was, believe it or not, the deleted scence in the features. I felt all of them should have been included. The other special features of behind the scenes are not to be missed. At the very worst, this is 4 2/3 stars, so you can't go wrong. This is an intense, wrenching drama, so be prepared. Truly a wonderful story.

I rented this movie because I saw the name "Ben Kingsley," which means you almost can't go wrong. I suggest that other viewers see it as I saw it--not knowing a thing about the story line. You will be blown away by the true-to-life ironies of it.

Just when I thought Hollywood couldn't make movies like this anymore, we get a solid five-star film with some of the best writing, acting, editing and directing I've witnessed in the last decade. This movie will pull you in five emotional directions and have you glued to the screen the entire time. It's an experience that leaves you reeling, thanks to first-rate storytelling from the writers, director and editors, and first-rate acting from the entire cast. As if that weren't enough, the score serves the movie well, always augmenting what we see, rather than distracting us from it (as is too often the case with today's overblown syntho-scores).

My only regret is watching the "outtakes," which contain a scene that was wisely left out of the film, but taints my experience of it, now that I've seen it.

If you like the painful complexities that Greek tragedies have to offer, this film is a modern version that will completely satisfy you--truly a classic!

This movie is amazing. I can't emphasize that enough.
This movie is about Jennifer Connely and her struggles with her life. After the city mistakenly evicts her out of her inherited house, an Irani family moves in. They clearly do not want to budge, they love the house and its view of the ocean.
A cop who helps evict Connely's character out of her house befriends her and ends up in love with her. He has mistakenly married his best friend, someone he doesn't feel the least bit of passion towards, and somebody with whom he chose to procreate.
Connely and the police officer make love to each other and promise to start a new life. The officer is obviously concerned about leaving his children, but he is so unhappy that he has himself convinced that he is going to go through with it.
Meanwhile, Connely is staying wherever she can, struggling with life, and she decides to take her life.
Her lover, the officer has decided to make the family move out of her house and takes to brute force and tactics that are disrespectful to the well-meaning family.
This movie has a shocking ending which I won't reveal to you, just know that you're not in for a happy ending.
I miss this movie, and plan on purchasing it, because every time the credits start to roll you feel as if it is not over yet. (Please keep in mind that I have a crush on Jennifer Connely...)

After watching this movie with my wife I reached a very clear conclusion: this is not a film for everyone. Those of you that can stomach sadness and suffering will be able to admire all the wonderful elements this production presents, from the actors to the settings. However, if dramatic situations spoil the moment for you, you may be able to appreciate the quality of the production, like my wife did, but will probably end up with a bitter taste in your mouth.

Kathy Nicolo (Jennifer Connoly) is a young widow that is being thrown out of her property for owing a ridiculously low amount of money in property taxes. But right from the start, we know that the ending of this story will not be all joy and happiness, since we catch a glimpse of the future. In this vision, Nicolo appears to be in shock outside of her house, surrounded by police and paramedics that are carrying dead people away from the scene. Following this revelation, we are presented with a collection of scenes that pique our curiosity: a young colonel (Ben Kingsley) cutting down trees that obstruct the view from his new house towards the Caspian Sea, an older colonel Behrani in the luxurious wedding of his daughter, and finally the same Behrani working with a crew on a highway and dreaming of buying a house that he finds in the classified adds.

Behrani and his wife go through the effort of making everyone believe that they have money and a high economic status, with not even their kids being aware of the deceit. However, Nicolo's house presents a great opportunity for Behrani, since he is planning to buy it, make some improvements and then sell it at a handsome profit. When he achieves his goal of purchasing the property, he is in heaven, but everything comes tumbling down when Kathy's lawyer begins with his attempts for trying to repossess the house. That is when the hostilities begin and matters get complicated with other events, like a crooked police officer getting involved in the conflict.

Firmly supported by a good performance by Connoly and an amazing job by Kingsley, which should have placed him as a serious candidate for the Oscar for Best Actor, this movie has all the required characteristics to provide a valuable experience. The plot is extremely engaging and it does not lack tense moments and its fair share of suspense. As I mentioned before, only those that are very sensitive to sad situations and suffering should stay away. For the rest of you, this should be a highly rewarding film.