7.5/10
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The Sweet Hereafter (1997)

R | | Drama | 21 November 1997 (USA)
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0:32 | Trailer
A bus crash in a small town brings a lawyer to the town to defend the families, but he discovers that everything is not what it seems.

Director:

Atom Egoyan

Writers:

Russell Banks (novel), Atom Egoyan (screenplay)
Nominated for 2 Oscars. Another 33 wins & 53 nominations. See more awards »

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Cast

Cast overview, first billed only:
Ian Holm ... Mitchell Stevens
Caerthan Banks Caerthan Banks ... Zoe Stevens
Sarah Polley ... Nicole Burnell
Tom McCamus ... Sam Burnell
Gabrielle Rose ... Dolores Driscoll
Alberta Watson ... Risa
Maury Chaykin ... Wendell
Stephanie Morgenstern ... Allison
Kirsten Kieferle ... Stewardess
Arsinée Khanjian ... Wanda
Earl Pastko Earl Pastko ... Hartley
Simon Baker ... Bear
David Hemblen ... Abbott
Bruce Greenwood ... Billy
Sarah Rosen Fruitman Sarah Rosen Fruitman ... Jessica
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Storyline

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 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 <mticheno@direct.ca>

Plot Summary | Add Synopsis

Taglines:

There is no such thing as the simple truth. See more »

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for sexuality and some language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Canada

Language:

English

Release Date:

21 November 1997 (USA) See more »

Also Known As:

El dulce porvenir See more »

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Box Office

Budget:

CAD5,000,000 (estimated)

Opening Weekend USA:

$31,149, 12 October 1997

Gross USA:

$3,263,585

Cumulative Worldwide Gross:

$3,263,585
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Author Russell Banks went on record saying that he thought this movie was an improvement over his novel. See more »

Goofs

When Stephens visits the Ottos, and Mr. Otto offers him some tea, we hear a tea kettle whistling but the one we see on the wood stove is not the whistling type, and there is no steam coming from the kettle. See more »

Quotes

Mary: (Speaking of a new computer, a gift) From Mr. Stephens... That was him on the phone just now. He was calling to see how you were.
Nicole: Who's Mr. Stephens?
Sam: Uh, he's a lawyer. He's our lawyer.
Nicole: You and Mom have a lawyer?
Sam: Well, yes. He's your lawyer, too.
Nicole: My lawyer. Why do I need a lawyer?
Mary: Well maybe we shouldn't be talking about this just now, with you barely home. Aren't you hungry, honey? You want me to fix you something?
Nicole: No. What's this lawyer business?
See more »

Connections

Referenced in My Wife and Kids: The Sweet Hairafter (2003) See more »

Soundtracks

Courage
Words and Music by The Tragically Hip
Courtesy of Universal Music/Ball Music, Inc. and Little Smoke Music, Inc.
Performed by The Tragically Hip
See more »

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User Reviews

Bus Plunge
11 November 2004 | by garellaSee all my reviews

Atom Egoyan's The Sweet Hereafter is a drama of loss and internal conflict within and among the people of small town which has lost its children to a winter bus crash. The central figure is Mitchell Stephens (Ian Holm), a lawyer who comes to the town in the hope of putting together a lawsuit on behalf of the surviving families.

Egoyan drags bitter and emotional performances out of his excellent cast, and managed to make me fall in love with a group of characters who, on the surface, are less than appealing. Every major character in his adaptation of Russel Banks' novel is morally bifurcated and riven with doubt.

Particularly interesting from a social perspective is the treatment of Stephens' mission. I thought the lawyer's efforts to put together his suit were played even-handedly, somewhere between the greed of an ambulance-chaser cynically exploiting a local tragedy and the difficult but necessary effort to use a flawed legal system to achieve a kind of justice. But the friends who saw it with me saw Stephens strictly as a "slimeball," placed there to test and tempt the struggling townspeople. If that's the impression that most viewers get, then I'm disappointed.

Whatever your perspective on that social question, there's no denying the slow power of this film. It moves with the measured fascination of inevitability, and leaves you with a bitterness you can savor.


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