FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| David Lean |||
David Lean

Honored with the American Film Institute Life Achievement Award in 1990, Lean’s body of work (ranging from the intimate film to the grandiose epic) demonstrates an obsessive cultivation of craft and a fastidious concern with detail that has become the very definition of quality British cinema.

Adapted from Noel Coward’s one-act play, Lean takes a potentially boring story of middle-age flirtation and tenderly creates one of the most enduring and poignant romance films ever made. Brilliantly underplayed, two happily married strangers meet by chance in a railway station and fall desperately in love, but never physically express the undercurrent of passion that exists between them, even during their final gut wrenching separation – if your heart doesn’t ache, you’re just not human!

Demonstrating moments of intimacy through gigantic display, Lean sets up the greatness of Pip’s expectations with the magnitude of his frightful encounters; one with an escaped convict, whose emerge into the frame reminds us what it’s like to be a child in a world of oversized, menacing adults, and another with the meeting of mad Miss Havisham, in all her gothic splendor.

Peter O'Toole made an enigmatic and lasting impression in his debut role as British officer T.E. Lawrence, who helped Arab rebels fight the Turks in WWI, and Omar Sharif has perhaps the greatest cinematic intro of all time as he magically appears through the ghostly waves of the desert heat, achieving Lean’s compulsive drive to create the perfectly composed shot. Alec Guinness, Anthony Quinn, Jose Ferrer, and Claude Rains round out this incredibly talented and magnetically charged cast.

Recommended by CarrieSpecht

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The Woodsman

By BrianOrndorf

January 13th, 2005

Self-consciously low-tech, the independent production “The Woodsman” features a fine ensemble cast, and an interesting way to depict the untouchable topic of pedophilia. However, the film never grabs the audience the way it desires, with most of the conflict oddly falling flat.


Walter (a restrained, insular Kevin Bacon) has just been released from a 12-year prison stint for pedophilia. Cautiously adjusting to his new life on the outside, Walter struggles to handle his unfortunate apartment location (overlooking an elementary school), a new love (Kyra Sedgwick), a job where the employees (David Allen Grier, Eve) question his past, a cop (Mos Def, “The Italian Job”) who is relentless his in observance of Walter’s daily life, and his own dangerous sexual feelings, which rise to the forefront when he befriends a young girl (Hannah Pilkes) in a park.

“The Woodsman” has “Class of Sundance 2004” written all over. With a heady subject matter, low-tech, grainy production values, and a cast pocked with A and B list stars, this is a production that reeks of prototypical independent cinema, an equally admirable and woeful quality to have. “The Woodsman” is an original creation, but a faintly unremarkable motion picture.

Credit must be paid to writer/director Nicole Kassell (adapting the play by Steven Fechter) for taking on the subject of pedophilia in a manner that doesn’t have the fringes of a Lifetime movie or an Oprah special. “Woodsman” is an empathetic look at an offender’s place in society and difficult rehabilitation of his mind, not cutting many corners when it depicts the aggressive distaste some people find themselves feeling around Walter. If not a particularly engaging film, “Woodsman” is a fascinating one, delving into dark regions of human reaction to an utterly despicable figure. With the central idea, Kassell is confident in her portrayal of Walter’s torment, as he attempts to rebuild his life, cope with his first taste of adult sexuality in some time, and his desperation in trying to suppress old feelings toward the children he meets in everyday life (smartly realized by Bacon). There’s a great deal of turmoil to be mined here, and Kassell’s finds the right mood to keep Walter’s internal struggle gripping, yet not completely ick out the audience.

The narrative for “The Woodsman” is not nearly as strong as its emotions. The story starts out well enough, with Kassell introducing Walter as an unwilling observer of a local elementary school, building conflict quietly when Walter spies a potential pedophile working the area. While more conventional in design, this idea is ripe for exploration, which frustratingly never comes. “Woodsman” is a character film, allowing great leeway for the actors to find their roles and set the pace. This leaves the picture with an odd unfinished feel, made more perceptible by the film’s brief 80 minute running time and the plethora of name actors who are given very little to do. “Woodsman” is an interesting look into a fractured, tormented mind, yet it falls below the truly enveloping, harrowing experience the film unfortunately only hints at.

My rating: C+