Master Gardener

Thank god for intelligent film making. This story of second chances and redemption is not without its problems but overall is time well spent if you actually want to watch a story unfold. The basic plot of bad man atoning for a past life through enabling others is a well worn furrow which usually ends in an orgy of violence or a tragic sacrifice but not so here. In Edgertons measured and nuanced performance we have a far better and more realistic journey as he demonstrates once again how underrated he is as an actor. Sigourney Weaver demonstrates just how damm good she is and relative newcomer Swindell holds her own. If I were to critise it would be the continuity and editing, at times I was left thinking that a scene was missing and some of the linkage plain didn't work, thankfully the overall arc of the story and the performances kept me interested enough to let the flaws slide. Give it a watch.

The concept of Master Gardener wasn't new at all, "a man with a troubled past tries to restart his life and so on". I still wanted to give it a try, since the cast and the director ensured some potential.

After the credits hit there was only one question left, what was it all about? There wasn't even that much dramatic stuff happening in the film, to be hoest, and since the characters are barely transofrmed by the situations they find themselves in - there was no noticeable arcs or transformations. In the end everything stayed almost exaclty the same, including the characters.

It felt like just a recollection of a couple of weeks from these peoples lives, including long, stretched scenes of driving around, eating, narrating diaries and so on. Almost like a basic pointless re-enacted documentary.

Scenes just dragged and dragged, slowing it down as much as possible. So when it felt like the movie is going to end, I wasn't sure what story is left to wrap up, since nothing really happened. The main character changed slightly in terms of coping with his past, but didn't really change that much.

Besides some basic people-flower metaphors, there was nothing of interest in this film, so in the end, indeed, this was a waste of my time.

Greetings again from the darkness. The word of the day is "awkward." Every character, every situation, every moment, and every conversation in this film can be described with that word. An attempt will be made to not overuse that adjective here, but yours truly offers no guarantees. Paul Schrader has had a long and impressive career as both writer and director. His early successes include screenplays for TAXI DRIVER (1976), ROLLING THUNDER (1977), RAGING BULL (1980), and THE LAST TEMPTATION OF CHRIST (1988), as well as directing AMERICAN GIGOLO (1980) and AFFLICTION (1997). The past few years have been a bit of a resurgence for Schrader with the excellent FIRST REFORMED (2018) and THE CARD COUNTER (2021).

In his latest, Schrader gives us Narvel Roth, an expert horticulturalist played by Joel Edgerton. Narvel is responsible for the massive gardens on the estate of wealthy dowager Norma Haverhill (Sigourney Weaver). Narvel's daily rituals are carried forth with his meticulous approach, including daily journaling in his sparse living quarters located on the grounds of the estate. As narrator, Narvel tells us, "a change will come in its due time", and though he's speaking of the garden, we understand the words also apply to him. Soon enough, we learn that this current lifestyle represents a significant change from his past, and it's clear another is brewing.

The relationship between Narvel and Ms. Haverhill is quite unorthodox, and yes, awkward (she has nicknamed him 'Sweet Pea'). She is filled with entitlement and thrives on her power over others, not hesitating to use Narvel for more than his gardening skills. In fact, his past likely provides quite an enticement for her. Ms. Haverhill soon charges Narvel with taking her estranged and off-track great-niece Maya (Quintessa Swindell, BLACK ADAM, 2022) under his wing and teaching her the profession of gardening. This creates the second and third of the three relationships at play in the film. Narvel and Maya hit it off, as her intelligence and work ethic win him over. However, things aren't as smooth between Maya and Ms. Haverhill. Their first chat, though long delayed, epitomizes the awkwardness prevalent throughout the film.

Adding complexity to the story is Maya's personal life which brings a couple of drug dealers to the forefront. It's this development that uncovers the past Narvel has worked so hard to cover up. After a meeting with his Witness Protection contact (Esai Morales), Narvel begins his process of 'saving' Maya ... a clear attempt at redemption from his past life, and this is where her being bi-racial is a significant plot point.

The first two acts offer an unconventional form of entertainment. Edgerton nails the Narvel role with his Steven Wright delivery, slicked back hair, SLING BLADE wardrobe, and fastidious procession through the day. Even his posture and stride change along with his character's shifting outlook. The three relationships between the tormented characters weave quite the web, and as secrets are exposed, the dynamics of these relationships change as well. Schrader includes a few cringy lines of dialogue (perhaps by design?), and the drug dealers seem purposefully cartoonish, rather than intimidating or menacing. There are call-backs to earlier Schrader works, as it seems many of his characters over the years have battled personal demons, yet this one does offer a glimmer of optimism, which could be considered a step forward ... even if it's a bit awkward.

Opens in theaters on May 19, 2023.

As the movie opens we witness Joel Edgerton as Master Gardener Narvel Roth writing in his journal with narration. What we first see of him is a mystery, but at 22 minutes in he takes off his shirt and the tattoos paint an uneasy picture of who he might be. Or at least who he was at one time.

He is employed by Sigourney Weaver as the Dowager Norma Haverhill who owns the mansion and the grounds that are a masterful garden. He also has a small staff and he spends time each day teaching them some of the finer points of gardening.

Norma approaches him, she has a request. Her grandniece, a young lady of "mixed blood", will be coming on, the hope is that she can be trained as a gardener. She will get minimum wage at first and will be provided transportation. And, since Norma is up in age, maybe the young lady can ultimately take over and carry on the family tradition. She is played by Quintessa Swindell as Maya Core.

My wife and I recognized right away that it must have been filmed in Louisiana and in fact it was, St. Francisville and New Orleans, primarily. The New Orleans scenes not far from where my wife grew up, on the West Bank.

This is a really good movie, with solid and interesting character studies of the three main characters. Each actor gives a fine performance. What you were doesn't necessarily dictate what you will become.

At home, on DVD from our public library.

"Mistress Mary, quite contrary, How does your garden grow?"

Frances Hodgson Burnett " The Secret Garden"

For Norma Haverhill (Sigourney Weaver), the award-winning garden surrounding her elegant plantation-like home is doing quite well, thank you. In large part because the titular horticulturist of The Master Gardner, Narvel Roth (Joel Edgerton), has curated the beds to the highest quality.

However, this is a Paul Schrader movie, and Narvel is an inscrutable loner with a dicey past who can't hide from his it or his demons. Writer/director Schrader meticulously crafts characters with pasts that slow-burn style invade that garden, so to speak, with potentially dangerous outcomes.

No surprise that this careful loner, Narvel, is a former white supremacist in a protection plan that covers him until his garden grows a lovely niece of Norma, Maya ( Quintessa Swindell), who is smart and alluring and quietly involved in drugs with the unfortunate interaction of her dealer boyfriend. Yes, she's another character with a dark past.

The other major player, Norma, is so aloof and domineering, the essence of white privilege, that her persona damages whomever she owns, like Narvel and Maya. Not only does she demand Narvel's physical comforts, but she also stays away from Maya for a while before she visits her on a job as an intern in the garden. The weeds are waiting for a negligent moment when they can fulfill their appointed fate, the compromising of the grounds and the family itself.

Schrader works out the fate of the players and the garden in Greek-tragic style, where character will out and life move on. The cinematography is elegant and low-key both when it zooms in on the flowers and the faces of these gifted actors. Weaver is stoic and reserved, Edgerton plays careful and coiled, and Swindell is a siren, well-meaning but lethally alluring.

The Master Gardener is my kind of beautiful and thoughtful drama playing out big themes in a small environ, albeit a dynamic metaphor for growth amid darkness. In a sense, it fulfills Schrader's devotion to redemption, where he almost always (his trilogy starting with First Reformed and Card Counter ) works his protagonists' demons to death with eventual goodness.