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37 of 40 people found the following review helpful:
5.0 out of 5 stars
A Superb, Emotionally Shattering Drama!, August 23, 2002
It is hard to have enough good words to say regarding the level of excellence obvious in every frame of this painstakingly beautifully made drama. As is often the case these days, this work is the result of the efforts of an independent agent, showing how difficult it is to anything worthwhile done from within the confines of the Hollywood success-oriented movie-making monster. With a small budget and world-class actors, this economy-class effort shows that going in under budget doesn't necessarily lead one into mediocrity. Quite the contrary is true here. This movie shines through its poignant portrayal of a family reeling into existential crisis based on the savage murder of a family member, and deals superbly with the incredible range of emotions such an extraordinary event wreaks in its aftermath. The terrific cast includes Sissy Spacek, Tom Wilkinson, and Marisa Tomei, each of whom was deservedly nominated for an Oscar for the performances rendered here. This is a starkly realistic depiction of life in the raw, and doesn't soft-pedal any aspect of the wrenching personal experience such monumental loss tows in its wake. All the second-guessing, recriminations and pent-up regrets of a lifetime come pouring out as the characters try to piece together some workable way to go on in the face of the simultaneous feelings of heartache and anger they feel about what has happened, about what they let happen by acts of both commission and omission, about not stepping up to the meaning of events that led up to the tragedy. Anyone who has dealt with serious loss in life will relate to the film. In fact, the chief criticism I have of the film is that it is entirely too real, too angst-provoking, too intense, so that it is difficult to sit to watch in its entirety for that very fact. One finds oneself squirming in recognition of just how well-etched and carefully characterized each of the principal figures in the drama seems to be, and how the events that transpire all seem to build inescapably toward this most horrible of conclusions. We watch as the events reel into overdrive, the initial spate of shock and denial buckling inexorably under the need to find some fault, to lay some blame, to put some tangible thread of purpose, reason, or rationality underneath what at base seems to be such a totally illogical and absolutely insane act; the passionate murder of one man by another over love gone wrong. Briefly summarized, this is easily one of the most powerfully realistic and emotionally explosive movies of the last decade. It twists and plucks at your heart strings and then suddenly cuts them out with a blunt instrument, all without the benefit of anesthesia. It pulls no punches in presenting an unforgettable portrait of a family flailing desperately about in an effort to come to terms with the violent death of one of its members. It is not an easy movie to watch, but is an uncommon movie experience as it deals so honestly with the extremes of emotion associated with the anger, anguish, and loss so common to the human condition. I highly recommend it.
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23 of 24 people found the following review helpful:
5.0 out of 5 stars
The Killings, December 10, 2001
It has been said that the most tragic of life events is the death of a child: Tragic in the most grotesque and Classically Greek manner because it goes against nature for a parent to out live a child.
Todd Field's "In the Bedroom" is based on the short story, "The Killings" by Andre Dubus and though this is Field's first film it is obvious that he is now a director to be reckoned with.
Field has also assembled a dream cast in Sissy Spacek (Ruth), Tom Wilkinson (Matt), Marissa Tomei (Natalie)and Nick Stahl (Frank).
Ruth and Matt and son Frank live a quiet smalltown life in Camden, Maine. Ruth is a music teacher, Matt is the town's doctor and Frank is planning to go away to college to study Design/Architecture and having a summer fling, as he describes it, with Natalie who has two children and an ex husband, Richard (William Mapother). Ruth is not particularly happy with the affair and neither is Richard...for he kills Frank in a jealous rage.
Frank's murder is the turning point of the film and the focus changes to: dealing with grief, communication or lack thereof between couples, the justice of the legal system and how, as a friend, do u console the survivors of such a horrific crime?
"In the Bedroom" also showcases the talents of the actors especially Wilkinson ("The Full Monty")as Matt,who has spent the bulk of his life married to a woman he may or may not love but whose son was the light of his life. With Frank gone, what is to become of his marriage and his life? Sissy Spacek plays Ruth very quietly: all surface repose yet seething with anger and disgust. She never hits a false note and her scene with Natalie in the high school auditorium is stunning.
"In the Bedroom" is a major triumph for all concerned. It is a serious, adult film resonating, even vibrating with achingly heartfelt emotion...which comes from real pathos by way of truthful, well-written characters and situations.
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13 of 14 people found the following review helpful:
5.0 out of 5 stars
One of the Finest American Films in Years, August 20, 2002
Repeated viewings of IN THE BEDROOM, whether they are in the theater or on the now available DVD, only serve to reinforce the initial impression that this film is one of the finest complete creations to come out of Hollywood in a long time. Beginning with Andre Dubus' story 'Killings', to the screenplay, to the subtleties of director Todd Fields, to the cinematography (the extraordinary opening sequences in the fields of hay with the towering trees' noisy leaves setting the scene for the sensitive love rendezvous), to the exemplary performances by Marisa Tomei, Nick Stahl, Sissy Spacek and Tom Wilkinson plus a supporting cast of fine actors, to one of the most brilliant musical scores ever created for a movie - this little film has everything. The idea of introducing the title in an early conversation about catching lobsters, of using the Balkan a cappella songs to wind through the tale, of addressing a tough subject for most audiences and doing it all with such finesse and aplomb is staggering. For this viewer this was easily the best film of 2001. I hope Fields will regroup this amazing cast and production crew and give us another film of this quality.
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