Geoff Stewart grew up near the Rogue River, a river that reflects not only the beauty of the surrounding mountains and the seasons changing, but also the lives of the people in the town that flanks its banks. It provides water that rejuvenates the grasses in spring, refreshes recreational rafters during sweltering summers, mists the valley in autumn ground fog, and in winter, swollen with cleansing rains, sweeps away the year's detritus. It is difficult to sit near any section of the Rogue, at any time of the year and in any weather, and not get caught up in thoughtful pauses that spawn moments of human understanding, self- awareness, even spiritual epiphany. Like the Rogue, Geoff Stewart's movie Reverie provokes a sense of reflection – of questioning and consideration – that accompanies the natural quest for understanding, acceptance, and reconciliation.
Everything considered – lack of experience, of professional grade equipment, of financial resources, and all that implies – Reverie is an excellent effort. It wends its way from opening scenes to final shots with the pensive pace of a meandering river, rushing along only occasionally before it tumbles with suddenness to its revelatory conclusion. It engaged my curiosity through its interesting characters, slowly disclosed plot, subtle though sometimes striking scenes, and effective editing and juxtaposition. Also, in the end, the film addresses a relevant, valuable, on-going social theme. However, the key aspect may be this: there is enough promise in Reverie to justify believing Stewart will make some fine films in the future, especially if he gets some solid financial support.
The movie moves slowly at first, but Stewart's temperate pacing establishes the sense of reflection, contemplation, and reverie in the characters' lives. The parallels in the opening scenes, mundane but under-girded with significance, create a subtle tension while developing the subtly acted leads. The juxtapositions raise questions about their relationship, about their motivations for the lives they've chosen, and about how the two intersect.
The main characters – Dominic and Jake – are likable from the outset, not only because they are everyday people who perform normal mundane routines, but also because beneath the veneer and security of their daily activities it's obvious by slight clues there is a mysterious depth and complexity to them that is also common to all. Everyone has something from the past that bears upon the present and requires examination and understanding; Dominic and Jake are no different. They convey frustrations and confusions, angers and disappointments, self-condemnations and yearnings for forgiveness caused by choices and their consequences that we all experience. It's easy to feel empathy for each, and to hope for a satisfying resolution as well. Their story is appealing, interesting, and touching.
Stewart's camera shots enhance the sensation of looking back for understanding. He languidly mirrors the main characters as they walk around their vehicles, contributing to the recurring feeling of reverie. Even the not so subtle but quickly memorable duct-taped rear view mirror ironically and effectively indicates that the trip is, in fact, a look back at things already passed; even if a body tries intentionally to block out memories that demand attention, they will rise of their own accord, maybe even through divine choreography, a consideration Stewart boldly confronts in his story.
The yearning Dominic displays hoisting his guitar like a priest lifts the Host during the Eucharist in a Mass, though perhaps overdone, does increase the tension, cause questions to surface, and help establish the need for "reverie." The symbolic offering, as if something from the past has been sacrificed though not completely relinquished, takes on added significance when immediately followed by the lie – by no means innocent – to his fiancé. The memorable rifts Dominic plays tie together the main characters and the primary conflict they face. Theirs is a communion of events that calls for reconciliation, as much as possible, based upon acknowledgment, acceptance, and forgiveness after sufficient reflection. Stewart's narrative arrangement is fairly seamless as their lives course together, merge, and rush downstream to their necessary individual and corporate reflections.
Stewart uses lovely nature shots to increase the reflective mood. He has captured settings – elegant in their simplicity – that naturally inspire contemplation and make the feelings of introspection personally relateable. Rains dripping from tree branches, flames crackling off the edges of firewood, snow falling into slush on roadside fields, nightfall over a campsite at the river's edge, all are presented with no editorial comment, as nature's beauty suffices to move the spirit. In this Stewart shows a mature touch perhaps beyond his inexperience.
Dominic's and Jake's culminating reveries occur after a woodland meeting with a nurturing Mother figure who helps lead them to their individual and shared resolutions. The scenes, overlaid with dialogue, are more engaging because of the background images that develop the characters' personal narratives and explain the relationship between Dominic and Jake. Here it is easy to see Stewart knows how to use cinematic imagery to tell a story, because even without the voiceovers, viewers would understand what was happening in the time lapse tales and how the separate stories intertwined.
The editing cuts are professionally spliced, the movie smooth and sharp, especially considering the financial resources available – or lack thereof. The story flows easily and unhindered. And the scenes always last just long enough; while contributing to the feeling of reflection, when they begin to feel uncomfortable, they end; they do not last too long.
Reverie is a simple story of characters whose lives are, by virtue of being human, complex and at times confusing, lives that everyone can relate to because we all look back trying to understand why things happen and who we are in the montage of our experiences. Stewart's movie – intriguing, engaging, and in the end entertaining – helps remind us of what being human is and of the importance of the examined life.
Everything considered – lack of experience, of professional grade equipment, of financial resources, and all that implies – Reverie is an excellent effort. It wends its way from opening scenes to final shots with the pensive pace of a meandering river, rushing along only occasionally before it tumbles with suddenness to its revelatory conclusion. It engaged my curiosity through its interesting characters, slowly disclosed plot, subtle though sometimes striking scenes, and effective editing and juxtaposition. Also, in the end, the film addresses a relevant, valuable, on-going social theme. However, the key aspect may be this: there is enough promise in Reverie to justify believing Stewart will make some fine films in the future, especially if he gets some solid financial support.
The movie moves slowly at first, but Stewart's temperate pacing establishes the sense of reflection, contemplation, and reverie in the characters' lives. The parallels in the opening scenes, mundane but under-girded with significance, create a subtle tension while developing the subtly acted leads. The juxtapositions raise questions about their relationship, about their motivations for the lives they've chosen, and about how the two intersect.
The main characters – Dominic and Jake – are likable from the outset, not only because they are everyday people who perform normal mundane routines, but also because beneath the veneer and security of their daily activities it's obvious by slight clues there is a mysterious depth and complexity to them that is also common to all. Everyone has something from the past that bears upon the present and requires examination and understanding; Dominic and Jake are no different. They convey frustrations and confusions, angers and disappointments, self-condemnations and yearnings for forgiveness caused by choices and their consequences that we all experience. It's easy to feel empathy for each, and to hope for a satisfying resolution as well. Their story is appealing, interesting, and touching.
Stewart's camera shots enhance the sensation of looking back for understanding. He languidly mirrors the main characters as they walk around their vehicles, contributing to the recurring feeling of reverie. Even the not so subtle but quickly memorable duct-taped rear view mirror ironically and effectively indicates that the trip is, in fact, a look back at things already passed; even if a body tries intentionally to block out memories that demand attention, they will rise of their own accord, maybe even through divine choreography, a consideration Stewart boldly confronts in his story.
The yearning Dominic displays hoisting his guitar like a priest lifts the Host during the Eucharist in a Mass, though perhaps overdone, does increase the tension, cause questions to surface, and help establish the need for "reverie." The symbolic offering, as if something from the past has been sacrificed though not completely relinquished, takes on added significance when immediately followed by the lie – by no means innocent – to his fiancé. The memorable rifts Dominic plays tie together the main characters and the primary conflict they face. Theirs is a communion of events that calls for reconciliation, as much as possible, based upon acknowledgment, acceptance, and forgiveness after sufficient reflection. Stewart's narrative arrangement is fairly seamless as their lives course together, merge, and rush downstream to their necessary individual and corporate reflections.
Stewart uses lovely nature shots to increase the reflective mood. He has captured settings – elegant in their simplicity – that naturally inspire contemplation and make the feelings of introspection personally relateable. Rains dripping from tree branches, flames crackling off the edges of firewood, snow falling into slush on roadside fields, nightfall over a campsite at the river's edge, all are presented with no editorial comment, as nature's beauty suffices to move the spirit. In this Stewart shows a mature touch perhaps beyond his inexperience.
Dominic's and Jake's culminating reveries occur after a woodland meeting with a nurturing Mother figure who helps lead them to their individual and shared resolutions. The scenes, overlaid with dialogue, are more engaging because of the background images that develop the characters' personal narratives and explain the relationship between Dominic and Jake. Here it is easy to see Stewart knows how to use cinematic imagery to tell a story, because even without the voiceovers, viewers would understand what was happening in the time lapse tales and how the separate stories intertwined.
The editing cuts are professionally spliced, the movie smooth and sharp, especially considering the financial resources available – or lack thereof. The story flows easily and unhindered. And the scenes always last just long enough; while contributing to the feeling of reflection, when they begin to feel uncomfortable, they end; they do not last too long.
Reverie is a simple story of characters whose lives are, by virtue of being human, complex and at times confusing, lives that everyone can relate to because we all look back trying to understand why things happen and who we are in the montage of our experiences. Stewart's movie – intriguing, engaging, and in the end entertaining – helps remind us of what being human is and of the importance of the examined life.
