A sheriff sees his state senate bid slide out onto the ice when his daughter begins to date the son of a charming but psychologically disturbed woman with whom the sheriff has engaged in a two-decade-long affair.
Dustin Lance Black
Set in the world of mega-churches in which a former Deadhead-turned-born again-Christian finds himself on the run from fundamentalist members of his mega-church who will do anything to protect their larger-than-life pastor.
Seymour Levov, going by the nickname of 'Swede' in the Jewish community he was born into, was even more of an all-American than Douglas Fairbanks himself. He had just everything an American idol can dream of: not only was the tall muscular young man a high school star athlete but he married a beauty queen named Dawn in the bargain. And as if all this were not enough, Swede later became the successful manager of the glove factory his father had founded, which allowed him to live with his wife in a beautiful house in the New Jersey countryside. Well-mannered, always bright, smiling and positive, conservative but with a liberal edge, what bad could ever happen to him? And yet...this was reckoning without fate and its obnoxious irony, Swede and Dawn's nemesis manifesting itself in the person of Merry, their beloved daughter who in her teens unexpectedly turned into a violent activist.Written by
Near the beginning of the film Levov Sr. makes the statement that his son's party is taking place in Republican territory--that it's where the KKK lives. The KKK, being nearly 100% made up of poor Whites then and now, have been Democratic until Regan pulled them all into the Republican Party to make room for the then-emerging Marxists who had subtly taken the Democratic Party for themselves, beginning during the 1960s. So, what Levov should have said was Democratic, not Republican. See more »
[narrating as WWII era dance music plays]
Let's remember the energy. America had won the war. The depression was over. Sacrifice was over. The upsurge of life was contagious. We celebrated a moment of collective inebriation that we would never know again. Nothing like it in all the years that followed from our childhood until tonight, the 45th reunion of our high school class.
[now walking down a school hallway]
At 30 or 40, a gathering of my old classmates would have been exactly the...
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Greetings again from the darkness. Tackling one of the great American novels is a difficult challenge for even the most seasoned film directors and a dubious undertaking (at best) for a first-timer. Philip Roth won a Pulitzer Prize for his 1997 novel "American Pastoral", and there have been rumblings of a Hollywood production for more than a decade. It's somewhat surprising that the screen version is directed by first time director Ewan McGregor with the Scottish actor also taking on the lead role of local Jersey boy and sports hero Seymour "Swede" Levov.
The story examines the cracks behind the façade of a seemingly perfect family the sports hero marrying the beauty queen. Of course, there is always more going on within a family than most care to admit (at least that was the case in the days prior to Facebook). There's an early scene where Swede has introduced Dawn (Jennifer Connelly) to his father (Peter Riegert), and the philosophical and religious differences perfectly capture the changing times and mores from one generation to the next. Never has this been more true than the late 1960's and early 1970's political and social upheaval were daily occurrences – and sometimes quite violent.
The first half of the movie is exceptionally well done and captures the essence of why the second half feels like a total decimation of everything Swede thought he had. He and Dawn's daughter Merry is beautiful and feisty and stutters something that only enhances the anger she expresses and anguish she causes for her parents. Her innocent questions as a young child evolve into radical political beliefs and affiliations as she grows up.
Merry (ironically named) is by far the most interesting character in the story, but with the focus on Swede, Dakota Fanning only has brief moments that are worthy of her talent, and Dawn has only a few emotional moments that allow Ms. Connelly to flash the acting depth she hasn't shown in years. So much time and attention is devoted to Swede that the second half is a bit of a letdown and leaves too many details and questions unanswered.
John Romano's (The Lincoln Lawyer) adaptation of the American classic took a different direction than we might have preferred, but it's a thankless job since so many have considered this as unfilmable. McGregor shows a good eye as a director, though it's obvious this material needed a more experienced filmmaker at the helm. The great Alexandre Desplat provides a classy score the piano pieces are especially well suited. Supporting work is solid from David Strathairn as narrator Nathan Zuckerman, Rupert Evans as Swede's brother, Molly Parker as Merry's therapist, Uzo Aduba as Swede's employee, and Valorie Curry as a misguided revolutionary. It's a reminder that family dynamics may be the most complex organism, and when blended with the volatile times of the Vietnam War, a generational gap should be expected even if it's difficult and emotional to accept.
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