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Archive for the ‘Ally Sheedy’ Category

Life In The Time Of War

19 Sep

Life During War – directed by Todd Solondz. Satirical Drama. The effect of child molesters on their families. 97 minutes Color 2009.

* * * *

The title is not only counter-invitational but inaccurate, and if it is not inaccurate it is pretentious, and if it is not pretentious it is SYMBOLIC, like someone’s dirty underwear turned inside out and hung up on the clothesline as though it were washed. The picture is also oddly photographed with color filters which make it all seem to be taking place inside a jukebox. This distances it from us. This is odd because the content of the scenes would be intimate if the written responses were plausible which they often aren’t: A mother telling her ten-year-old boy about her love life, a couple being spit at in a restaurant, a ten-year-old boy taking on because he believes he is being molested. To make any of this work, requires acting skill of a genius which some of the actors do not possess. The final scene of the picture is so badly written it is unactable, and is acted badly, and the scene leading up to it likewise. This leaves us with Allison Janney, the great, playing an inane housewife whose husband is jailed for molestation, and everything she does is on the money, both in terms of physical movement and in terms of tone. Shirley Henderson, the English Jennifer Jason Leigh, plays a forty year old woman dressed like a child, except without a child’s gumption. The character is hard to take but not impossible to take, because her lines ring true. And then there is Charlotte Rampling terrifying as a monster picked up in a bar by Ciarán Hinds and perfectly illustrative of the toilsome nature of sex. Renée Taylor is a welcome sight as the Jewish mother of three daughters, the last of whon is played by Ally Sheedy in a brilliantly set and played scene of consummate Hollywood self-involvement. Ciarán Hinds looms gravely, tragically, throughout the film, finally turning up in the background of the last scene as though he could actually resume relations with the Janney wife whose banality would have helped drive him off to start with. She’s not a woman with ideals but only idealizations. There is no conversation possible with her. She can only lie and not know it. The picture is a sequel, with different actors, to the director’s Happiness. It is well worth watching, but not because of its theme of forgiveness, for people never seem to say, “I’m sorry,” but only “Forgive me,” which is not the same thing at all. But still the hand of the director is unusual in its lifelines and worth regarding in its truths and untruths.

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