Who would ever have thought that a Mad Max film would earn a nomination for Best Picture from the staid and serious Academy of Motion Picture Arts and Sciences? “Oh what a day — what a lovely day!” was my reaction when I heard the news (quoting a character from the film).
I wrote in my review last spring: “The characters aren’t nuanced, the storyline is one unending chase scene, and the dialogue is almost nonexistent. Still, it’s the craziest, wildest, most badass thrill ride to come to a theater since — well, since Mad Max: Road Warrior premiered in 1981.” Do I think it will win? Not a chance. But as I wrote in that review, “for pure, nonstop thrills with an undercurrent of resonant mythology and a libertarian hero just looking out for himself, Fury Road can’t be beat.”
I’ve already reviewed half of the nominees for Best Picture, including The Martian ; The Revenant; The Big Short; and Bridge of Spies, in which Tom Hanks once again heads a Best Picture cast without being nominated for Best Actor. Go figure. Here I round out the category by reviewing Spotlight, Room, andBrooklyn.
In 2002 the Boston Globe presented a story that was shocking not only in its subject but in its scope: over the course of several decades, Catholic priests had molested hundreds of children in the Boston area, and the church’s response had been to cover it up by quietly paying settlements and transferring the priests to other areas, where many of them molested other children. “Spotlight” was the name of the investigative team that uncovered the scandal, and it is the name of the film that has been nominated for Best Picture.
"Spotlight" adopts a didactic tone more appropriate to a documentary than a fictional narrative and just as dry.
There’s a risk inherent in focusing on the reporters who told the story rather than on the story itself. While we admire the reporters’ diligence, tenacity, and determination to get it right, writing — even when it entails researching and interviewing — is mostly a static pursuit. The actors do their best to make their scenes dynamic and interesting, and the writers did their best to introduce some action for the reporters: Mike Rezendes (Mark Ruffalo) jogs to work and attends a baseball game, William Robinson (Michael Keaton) plays golf, Sacha Pfeiffer (Rachel McAdams) does a walk-and-chat through a park with a molestation survivor (Michael Cyril Creighton), and Matt Carol (Brian D’Arcy James) runs up the street to look at a neighboring house. But that’s about it in the action department.
To me, the movie is mostly a script for talking heads. To be sure, it is a well-written script filled with the kind of loaded, eloquent dialogue that writers tend to write, and the subject is clearly important. The actors have been praised for mimicking the real reporters so well, and indeed they gesture skillfully, squint concernedly, touch their faces absently, and adopt careful postures and stances that they have observed by studying the actual reporters. But it looks staged, more artifice than art.
Spotlight also adopts a didactic tone more appropriate to a documentary than a fictional narrative and strangely (for a film with this topic) just as dry. We learn statistics about the “recognizable psychiatric phenomenon” of abusive priests and the cult of secrecy caused by forced celibacy that isn’t really enforced. We hear important opinions about how such heinous crimes could be committed against so many children without anyone stopping it, thoughts such as “if it takes a village to raise a child, it also takes a village to abuse one,” and “lawyers turned child abuse into a cottage industry” by quietly brokering secret settlements. We also hear moments of bitter irony, as when one survivor says, “the priests preyed on us instead of praying for us,” and when Cardinal Law (Len Cariou), who represented the church in covering up the crimes, says after the attacks on the World Trade Center, “Pray for the victims, pray for the injured, pray for those who survived.” The same could be said, of course, for the children who were molested. But this didacticism is hardly original; it was all in the articles we read when the stories broke.
Even worse, the men who had been molested as children — all of them — are portrayed as broken, stunted, and socially inept, not survivors at all, but victims. Sadly, I know many people who were molested as children, most of them by family members or neighbors. They have scars and sorrows, but they are neither broken nor socially inept. Most of them are strong, active, and successful. You simply would not know what they have endured. It isn’t right to portray all of these survivors in this way.
If nothing exists on the other side of the door, then there is no reason to grieve or long for release.
Spotlight tells an important story, but despite the protagonists’ success, it isn’t one of those films that makes you cheer their success. Yes, the reporters broke the story and forced the church to do something about the abusive priests. Yes, the film demonstrates journalism at its best in terms of the diligent digging, insistence on accuracy, and compassion toward the survivors interviewed. Yes, it allows hundreds of victims to tell their stories. But despite all this, it is a tedious film, and all I could feel was relief when it was over.
Room addresses a similarly horrifying topic. It’s every parent’s greatest fear: a child goes off to school and doesn’t return. Simply vanishes. Hours go by, then days. Then weeks. Has she been kidnapped? Murdered? Did she run away? Then years. Life is never the same, because you can’t even grieve — you have to keep hope alive, and that means telling yourself that your child isn’t dead, that someday she will walk back through that door, and everything will be the same again. Anything less is betrayal. To “move on” would be like killing her yourself. So you wait. Or maybe you do move on. Either one is agony.
Room tells the story of such a young woman. Joy (Brie Larson) has been kidnapped at the age of 17 and held hostage for seven years in a small shed, where she is abused by her captor every night and has no hope of escape. But if you are looking for (or have been avoiding) a lurid, prurient tale of sexual abuse, you won’t find it here. Instead, the story is told through the innocent eyes of Joy’s five-year-old son, Jack (Jacob Tremblay), who, because he has never known any other world than “Room,” is content with his life and the characters who populate it: Sink, Bed, Wardrobe, Chair, Bathtub. The world he sees on the screen of a small television set is just a nice fantasy.
Like the whimsical father (Roberto Benigni) in Life is Beautiful (1997), who shields his little boy from the truth of their captivity in a concentration camp by making a game of it, Joy has determined to create the semblance of a normal life in an abnormal world by acting as though Room is the entire world. If nothing exists on the other side of the door, then there is no reason to grieve or long for release. Jack is content, and his presence makes her life endurable.
Nevertheless, when Joy thinks of a way for Jack to escape, she forces him to take it, no matter what the consequences might be for her. Jack’s terror as he tries to get away from a world that seemed normal to him creates the most harrowing scenes in the film. My heart was racing the whole time.
That’s about it: just a simple love triangle, the kind you might find in a Harlequin romance.
One would expect that escape from the shed would mark the climax, but it’s really just the middle. Room is told in two solid acts, and in the second we learn that there is more than one way to be imprisoned. Joy’s parents (Joan Allen and William H. Macy) have also been held hostage by Joy’s kidnapping, unable to move forward, unable even to change the room where Joy grew up. They are trapped by their expectations, trapped by their imaginations, trapped by their blaming and their guilt. Jack becomes trapped as well, in a world so gigantic he doesn’t know how to process it. Even more poignantly, Joy has to escape the confining expectations she has nurtured about what it would be like to leave Room and go home. The film asks us to consider what makes a woman a mother, what makes a man a father, and what makes a place a home.
Brooklyn is another Best Picture nominee that asks us to consider what “home” means. Beautifully filmed in Ireland and Brooklyn, as they were in 1951, the sweeping landscapes and nostalgic cityscapes are full of soft blues and greens that highlight the blue-green eyes of the movie’s protagonist, Eilis (Saoirse Ronan). Eilis loves Ireland and her family, but like so many Irish citizens of the period, she is a bright young woman with a drab future as a part-time shopkeeper. When a family friend arranges for an invitation and a job in America, she takes it.
There she lives in a modest boardinghouse run by a motherly woman who watches over the morals of the girls who live with her, even as she pushes them into social situations where they can find a nice Irish immigrant to marry. Eilis finds Tony (Emery Cohen), a nice Italian immigrant, instead. Tony eases Eilis’ homesickness, and they fall sweetly in love. However, when Eilis returns to Ireland for a visit, the familiarity of home wraps itself comfortingly around her. Eventually she must choose between two men who love her: the comfortable Irishman (Domhnall Gleeson) and the New World Italian.
Her choice is not so much about the man who will be her husband as it is about the style of life that goes with the man.
That’s about it: just a simple love triangle, the kind you might find in a Harlequin romance. Not your usual Best Picture fare. But the production values lift it to award-winning possibilities. The cinematography is lovely, as are the costumes and set pieces. The music is evocative, and the acting is superb, especially Eilis’ controlled, reserved passion and Tony’s Brandoesque tender exuberance.
Moreover, Brooklyn is more than a romance; it’s a classic journey tale. Eilis journeys not just from Ireland to Brooklyn but from childhood to adulthood. Her choice is not so much about the man who will be her husband as it is about the style of life that goes with the man. At one point Eilis says, “I’m not sure I have a home anymore.” She learns in the end that “Home is where your life is.” And when she chooses the life, she embraces the man.