Undertow (2005)
It's a shame that "Undertow" has
a few too many problems to whole-heartedly recommend
it, because it is often a captivating, intelligent
and utterly unique film. Writer/ director David Gordon
Green has brought forth a film steeped in the innocence
and trauma of the American heartland, a film hopeful
yet devoid of hope, innocent yet filled with violence
and greed, sweet-natured and lyrical yet as dark as
the mud at the bottom of a river. Recalling Mark Twain,
Faulkner and Kipling, Green brings us the story of
two sets of brothers and how their lives intersect
with tragedy.
To be sure, the young set of actors
in the piece bring forth its most admirable qualities.
Jaime Bell, who has continued to impress film-goers
since his debut as the charming "Billy Elliot," is
pitch perfect here as a young man on the brink of
adulthood. Lost, hopeless and steeped in the perpetual
feeling of being unloved, Bell's character Chris seems
to be the protagonist here. Bell gives a performance
that is layered and complex evoking as much pathos
as the best of Twain's young male characters. It is
important to the tone and themes of the film that
Chris seem untethered and then, when the time comes,
a loving brother to his younger sibling Tim, and Bell
provides this arc flawlessly. Meanwhile, Devon Alan,
as Tim provides one of the most unique and complex
young male characters to ever grace the silver screen.
These two young actors propel "Undertow" to its desperate
conclusion and we are never once bored watching them
enact the lives of these boys.
The adult actors, Dermot Mulrooney
and Josh Lucas, meanwhile, do not fare as well. Mulrooney
seems particularly miscast. He is meant to play a
urban man who has withdrawn from the world and come
to live hermit-like in the depths of the American
rural landscape. (One of Green's greatest achievements
here is that we never know exactly what place and
what year the action takes place in). But Mulrooney
just isn't right for this part and we cannot accept
him in the role. Lucas, meanwhile, is stuck in a thankless
and stereotypical role that gives him almost no room
to breathe. One wonders why he would accept such a
charge.
Green tries interesting filmmaker's
flourishes in the film but often they seem incongruous
with his story. His still frames at the ends of scenes
often catch us off-guard, leaving us not to question
the poignant moment of the story but the choice of
his cinematic transitory devices. Or, to put it simply,
they are distracting. But the lush cinematography
and the unique story that Green tells often makes
such trifles unforgivable as well.
Green also chooses a score by Phillip
Glass that is as often perfect at it is distracting.
As a fan of the composer, it is a revelation to hear
his work used here in the dank, dark, rural American
setting. Glass provides many accents to the film that
make it even more fascinating and compelling. (A repetitious
prototypical Glass piece uses a banjo!) But just as
often his urbane and modern treatment to the score
is perturbing. The music reminded me several times
while viewing the film that the score was by Phillip
Glass. This was nothing but distracting.
"Undertow" is a film that should
be seen (if only for the scene where Bell plays in
the rain in nothing but a pair of briefs), but somehow
just doesn't congeal and become the masterpiece it
could be. Green has a lot of ideas here and casts
two amazing young actors who prove themselves talents
to be watched. But ultimately we wish we were watching
them in something a little more cohesive.
Note:
Also with Kristen Stewart (who is
still a hot girl/boy).
Terrence Malick is a producer.
Filmed in Georgia.
At least the tenth film to have
this title.
Viewed at the Arbor in Austin in
November, 2004.
