(Spoilers ahead)
I am a corporate slave/defense attorney situated in Los Angeles, California, who defends "the machine" against personal injury lawsuits related to asbestos exposure. Before you delete this e-mail, I am also a tremendous movie fan, an avid reader of your website, and am presently at the Sundance Film Festival for the second year in a row. I am planning on watching at least ten flicks this year, including Brief Interviews, Moon, Cold Souls, the Informers, and Shrink. Aware of the fact that there is no AICN presence at Sundance this year, I now offer my Sundance 2009 reviews - starting with the Greatest:
The Greatest, competing in the dramatic competition at Sundance this year, is a well-crafted film from first-time filmmaker Shana Feste, who recounted at the Q and A that she wrote the script while providing nanny services in Los Angeles. The film is remarkable in that the performances from Pierce Brosnan, Susan Sarandon, and Carey Mulligan are first-rate and carefully nuanced. In particular, Ms. Mulligan is a terrific find who perfectly balances the heart-break of losing her partner with understated understanding of her present condition and uncertain future. Ms. Mulligan's performance is flawless and should be recognized on the indie circuit this year. While there is no tour de force scene per se for Ms. Mulligan, I was particularly impressed how her presence in almost every scene is entirely uplifting and involving. I should also note that Mr. Brosnan is perfectly transitioning his carrer from lead to supporting/character roles (not unlike Alec Baldwin), and that the resulting performances are touching and captivating (i.e., The Matador).
The story commences with two amazing shots, one involving a startling car crash (resulting in the death of Mr. Brosnan and Ms. Sarandon's son), and the other showing the grieving family in a limo following the funeral. The latter shot, which holds for over two minutes, is representative of the entire movie - a family devastated by sudden loss unable to verbally communicate the looming fear and overwhelming sense of numbness. Ms. Feste revealed at the Q and A that there was enormous pressure on her to cut this scene. I, for one, am thankful that it remains in the film.
When Ms. Mulligan arrives unexpectedly (and announces that she is pregnant with the decedent's child), the script unfolds with careful detail to manner and every day circumstance. Ms. Mulligan's character, no stranger to tragedy herself, quietly recognizes a family in crisis, as Mr. Brosnan retreats into his profession (and incessantly associates life's details with its numeric scorecard), and Ms. Sarandon obsessively laments the details of her son's final moments (wondering how much pain was likely associated with his death). One key scene in which Mr. Brosnan accompanies Ms. Mulligan to a party is perfectly acted and sets up an emotional turn from Mr. Brosnan which is nothing less than transcendent.
Despite the wonderful acting performances, some of the scenes in this movie ring false - and I wish that Ms. Feste had further developed the storyline concerning the decedent's brother, who is unfortunately marginalized as the comedic relief. Ms. Feste is nonetheless a talented filmmaker who I will definitely monitor (not unlike Jonathan Levine, who premiered "The Wackness" last year at the festival). Her inspired decision to inter-cut sequences involving the initial encounter between Ms. Mulligan and the decedent and the subsequent turmoil of the decedent's family sans crash is extremely moving without any sense of exploitation.
Overall - this movie is deserving of an audience for the spectacular performances and first-time directorial/writing efforts from Ms. Feste, who added at the screening that she has additional screenplays from her "nanny days" which remain undeveloped.
If you use this review (or any of my subsequent reviews), please call me "Uncle Bukkake." I think said name proclaims class, no?
