2005, USA
Drama
An educated mind can comprehend many things: business, art, finance. However the most natural thing in the world can elude it: family. The importance of family -- no matter how little time is attended to it or how seemingly nonexistent affection is expressed -- is a theme so many films touch upon, but which often feels artificial. First-time writer Angus MacLachlan and first-feature director Phil Morrison bring this lovely, simple story to life, and infuse it with a thoughtfulness that has escaped others before them.
Love-at-first-sight marrieds George (Laurel Canyon's Alessandro Nivola) and Madeline (Embeth Davidtz) head south to North Carolina so that Madeline can persuade an artist to join her gallery. Out of convenience and curiosity, they also squeeze in a visit to his nearby family. Cultures quietly collide without fury or chaos, but through the natural channels of politeness and submerged feelings.
George's very pregnant sister-in-law Ashley (the exuberant Amy Adams, who will surely receive much attention for her superb performance) is in complete awe of Madeline even before she meets her. A small town girl who has never thought of leaving home, she views culture and education as a superiority status far from her reach. This does not upset her but thrills her when she is introduced to such sophistication, as she is such a glass-half-full sort of girl that her glass runs over by sheer will.
The rest of the family, however, seems embarrassed by her fawning and holds all emotions tightly within themselves. Mother Peg (the full force Celia Weston) tries to keep everyone in line, and not-so-subtly attempts to control their words and actions. Father Eugene (the restrained and genuine Scott Wilson) excuses himself to his woodshop to whittle away his thoughts, and baby brother and father-to-be Johnny ("O.C." boy Benjamin McKenzie) oozes anger and frustration from the cramped lifestyle of a full house.
Director Morrison reveals truths as a fly on the wall, as accidental eavesdropping allows characters to build on their emotions though the lack of clear communication causes each building to crumble. Cinematographer Peter Donahue (The Fog of War) contributes his documentary experience by instilling a quiet contemplation between dialogues. Snapshots within and outside of the house express a need for the walls to talk, but like their owners, they are too closeted.
The artist (portrayed with quirky seriousness by Frank Hoyt Taylor) that draws Madeline to this strange country personifies a compromise between the two extremes of expression. He only paints what he knows (allowing for the faces of white friends to be adhered to the unfamiliar bodies of Civil War slaves), and what is alien to him is explained through visions and dreams. His altered mind creates a connection when no one else will perform the task. In a blurring of reality, he represents the hazard of both too much inward dialogue and too loud a discussion of these thoughts to others.
As honest and vocal as Madeline is in contrast to George's family, she has never learned the value of inexpressible love for home and family. She is not mean spirited, but simply cannot distinguish her own selfish goals at a time that would be more appropriately focused upon the family. The heart of the film lay in Ashley, whose pureness and unabashed need for affection envelopes the family into which she married, who are strangers unto themselves. In spite of their inability to relate, they are family all the same.
Extras for this wonderful film include a nice commentary track with Adams and Davidtz, deleted scenes, five behind-the-scenes features, casting sessions for Adams and McKenzie, a photo gallery of fictional artist David Wark's unique work, and previews of other films.