Erik is totally blind and is solo kayaking the length of the Grand Canyon. In Lava Falls, a large dangerous rapid, he discovers that despite what people might say, barriers can be real and they hurt .. a lot.
In 1873 on Smutty Nose Island, a bleak island off the coast of New England, Louis Wagner is tried and hanged for the murder of two women. At the trial, the survivor of the murders, Norwegian immigrant Maren Hontvedt, recounts the events that led up to the murder of her sister and sister-in-law. In so doing, she reveals how she was caught in a loveless marriage and her repressed passion for her brother. Meanwhile, in the present-day, newspaper photographer Jean travels to the island off the New Hampshire coast with her husband Thomas, an award-winning poet, his brother Rich, and Rich's girlfriend Adaline. She is researching the murders of the two immigrant women. In a twist of fate, she discovers archived papers that appear to give an account of the murders. According to the papers, Norwegian immigrant Maren Hontvedt, survived the attack, which was allegedly done by Louis Wagner, who had once tried to seduce her. The plot unfolds the narrative of the papers and Hontvedt's testimony ...Written by
Based on an actual double-murder on the Isles of Shoals on 6 March 1873. See more »
When Josh Lucas dives into the water of the cove, it is almost perfectly still and glass-like. As they show Jean photographing him (in black and white) at the exact same time, the water is very choppy indicating there is a stiff wind blowing. See more »
Excellent drama from an excellent director, if not her best
Five years after the still underrated Strange Days, admirers of the considerably talented director Kathryn Bigelow were wondering when they would see her next project. When it appeared, The Weight Of Water proved much more consciously 'literary' (being adapted from a novel by Anita Shreeve), being conceived on narrower scope than the previous film, but exceeding its temporal complexity. In her recent films, Bigelow has seemed intrigued by the way in which flashbacks can section a narrative, and dictate tension. Strange Days notably included the visceral thrill of replayed memories, demonstrating all the dangers of literally living in another's head. The present film juxtaposes old and new events much more traditionally, but still creates unsettling experiences in parallel - in ways sometimes reminiscent of The French Lieutenant's Woman (1981).
For those used to the usual Hollywood clichés, the prospect of a boatload of innocents visiting an isolated scene of an old terror might suggest the imminent arrival of vengeful possession. To their credit, Bigelow and her source are above such routine stuff, although the script manages some genuinely creepy moments as Jean (Catherine McCormack) contemplates the gruesome past of Smuttynose Island on, and off, shore. As other reviewers have noted, The Weight Of Water is less about ghastly occurrences than a parallel study of two women, both trapped in loveless relationships. One, the 19th century immigrant Maren Hontvedt (Sarah Polley) reacts with uncharacteristic violence; Jean, the other, is powerless (or even initially willing?) when seeing her man slipping away - either emotionally or then physically.
So stark and successful are the scenes set in the past (the first time that Bigelow has directed such historical material) that one wishes that the modern day episodes aboard the Antares were more engrossing. Part of this is to do with the casting. Although much better than she would prove next in Bedazzled, as the coquettish Adaline Gunn Elizabeth Hurley is simply too shallow an actress to suggest the complexities and depths that her part deserves. Some of this is the script's fault, giving her little chance to express herself in anything but blatant body language. Whether lounging in her provocative white bikini, or sucking and toying with ice cubes like a nymphet arousing the poet Thomas (a troubled Sean Penn), our interest in her is usually limited to whether she succeeds in seducing half of the dysfunctional couples sharing the yacht. "Women's motives are always more concealed than men's," suggests Thomas at one point. Unfortunately, in Adaline's case at least, they are as obvious as the look on her face.
Both the house on Smuttynose Island and the 'sort-of vacation' enjoyed by those on the Antares, are threatening and claustrophobic. The atmosphere between consenting adults on board reminds one at times of that on the boat in Polanski's Knife In The Water (aka: Nóz w wodzie, 1962), although events turn out differently. As Jean observes, at the time of the killings it was felt that Louis Wagner (Ciarán Hinds) "was in love with one of the women, (and that) murder was the only way he could possess her." "I like that," comments Adaline tritely, unconsciously inviting an echo of this obsessive behaviour towards herself. At one point a rogue wind literally flaps her in some original documents relating to the case, a tangible suggestion of a bond between past and present. Although she doesn't succumb to the same Lizzie Borden-nightmare that took place on shore, the tension is there.
On board the Antares from the start, the drama of sexual attraction is of more importance than the violence of historical events, even though it is the old criminal case which has drawn Jean, leaving its emotional shadow. It is ironic and apt that her preoccupation with it partly makes her refuse Thomas' belated advances in the archive library. Usually, before this moment of romance, he glumly chain-smokes or decries the sensitivity which first attracted Jean - indeed for a poet, he remains curiously inexpressive of his feelings. It turns out that while contemplating the tanning body of Adaline he's absorbed with the death of an old girl friend in a car crash, one for which he was responsible and which inspires his famous poetry. In contrast, Rich Janes (Josh Lucas) the poet's brother and Adaline's current lover, seems unaffected either literature or the strained atmosphere - even at one point making light of his own lack of emotional commitment. With such a crew, one main difference between the 19th and the 21st century, the film suggests, is that of emotional engagement. All of the real 'drama' takes place in the wood cabin. On the yacht it is left deliberately shallow, and largely unexpressed - even if just as desperate.
It is Bigelow's skilful cutting between that century and this, and her suggestions of patterns both here and there, which makes the film so enjoyable and interesting. The film stands or falls by this technique and a typical criticism of it has been that 'the issues are subtle to the point of mere implication', or that the final moments of catharsis carry little weight as 'so little of dramatic interest' precedes them. But much of the pleasure from the picture lays precisely in the undecided or the unspoken, where a wife's desperation can be blown away in the wind and sea, and love is a trap. A more exact resolution of Jean's emotional dilemma, or a stricter line drawn between time zones would have reduced the mystery considerably. This is a film where it is simply enough, as Jean rightly observes, "that you sense something is about to happen - and when you realise it already has."
Hurley's shortcomings as an actress aside, most of the cast is excellent. Sarah Polley seems to have found her dramatic niche in cheerless historical settings (she was also in Winterbottom's excellent The Claim, 2000) and projects just the right degree of Scandinavian angst. Bigelow uses all of her locations effectively, with some especially impressive shoreline work, and the plot flows easily. This director's admirers should seek this out, and welcome her talent back without delay.
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