FilmJerk Favorites

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

||| Alfred Hitchcock |||
Alfred Hitchcock

This is perhaps an obvious choice, however, most people tend to overlook the Master of Suspense’s early work as well as the relevancy of his last film as a key element in the continuing transition and development of the genre he defined.

One of Hitchcock's early triumphs, this predecessor to the mistaken identity man on the run scenario Hitchcock turned to time and again, stars Robert Donat as the innocent wrongly accused of murder and pursued by both the police and enemy spies. This is the first example of Hitchcock’s mastery over the suspense tale, giving us a glimpse of the greatness to come.

Considered to be one of Alfred Hitchcock's greatest works, this story of two men who meet by chance on a train and frivolously discuss swapping murders is a prime example of a common Hitchcock theme of the man who suddenly finds himself within a nightmare world over which he has no control. You can easily see how this film lays the ground work for the more popular “North by Northwest”.

Alfred Hitchcock's final film is a light-hearted thriller involving phony psychics, kidnappers and organized religion, all of which cross paths in the search for a missing heir and a fortune in jewels. Here, Hitchcock has brilliantly developed his signature form to include the now common, and often overused, device of plot twist, after plot twist, after plot twist. Widescreen!

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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+