A small community is torn apart by a tragic accident which kills most of the town's children. A lawyer visits the victims' parents in order to profit from the tragedy by stirring up the their anger and launching a class action suit against anyone they can blame. The community is paralyzed by its anger and cannot let go. All but one young girl, left in a wheelchair after the accident, who finds the courage to lead the way toward healing. Written by
Matthew Tichenor <firstname.lastname@example.org>
Sir Ian Holm and Maury Chaykin appeared in A Life Less Ordinary (1997). See more »
When Stephens visits the Ottos, and Mr. Otto offers him some tea, we hear a teakettle whistling but the one we see on the cooker is not the whistling type. See more »
Mitchell Stephens, Esquire. Tell me, would you be likely to sue me if I was to beat you right now? I mean, beat you so bad you piss blood and couldn't walk for a month. Because that's what I'm about to do.
No, Mr. Ansel. I wouldn't sue you.
You leave us alone, Stephens. You leave the people of this town alone.
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When it comes to drama, The Sweet Hereafter represents the finest cinema of the decade. The film lifts the director Atom Egoyan to the highest place of Canadian directors -right next to David Cronenberg. With extraordinary intelligence, Egoyan -the maker of "Exotica"- creates labyrinths of relationships. Brilliantly using flashbacks the director reveals the emotions of the characters to the viewers -a powerful way to make the audience feel anxiety.
The Sweet Hereafter is based on a novel by Russell Banks. This doesn't mean that Egoyan hasn't created a film that looks like his own creation. Very beautifully, even with a sense of poetry, the camera moves in a canadian small-town, a scenery full of snow. The nicely unusual music of Mychael Danna creates the mood when a lawyer played by Ian Holm arrives to the town. A School bus lies under ice, and the lawyer is invited to sue someone for the loss of several children.
A very important slice of the scenario belongs to a school girl (Sarah Polley), who realizes that the grief of loss can't be eased by judging the cause of it. Also the other people of the town play a remarkable role in the script.
Egoyan speaks clearly, but with a sound of personality, about the need of love, the pain of loneliness and the crossing of emotional obstacles. Fortunately someone knows how to direct interesting movies with elements of drama in them. The Sweet Hereafter possesses a brilliant structure where the visual telling breaths in the spirit of symbolism. I'm a very demanding viewer, a true cynic who always tries to find the worst sides of the film, but in this case I can't say anything negative.
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