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Director David Cronenberg’s movies glisten with a surface sheen that is always perfect. His mise en scene is often pathologically devoid of human connection or touch, though his films are always notion provoking and often substandard in their pick of the detritus of our lives. Is there any more stunning movie than “Dumb Ringers? ” Any movie as heinous, off-putting yet compelling as “Wreck? ” (the version with Rosanna Arquette and Holly Hunter) .
In his terrific current film, “A History of Violence” Cronenberg has it both ways: his film features a straight forward set that he handles with honest a runt out-of-kilter quality that adds crunch and bite to the fable of a man, Tom Stall (the quintessential strong restful, Gary Cooper-type, Viggo Mortensen) who, when placed in a site that requires swift and brutal force…vomits out the internal fortitude principal from deep inside his psyche and bowels to arrive up with the goods to deal with the residence. “AHOV” then, is about violence, brutality and the far reaching and ever telescoping tentacles that both point to as they wreak havoc on Tom, his wife Edie (the radiant Maria Bello) and his family and friends.
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Cronenberg is dealing with some lofty and controversial ideas here: Slay someone and forever pay the mark for that cancel, whether or not the crime is justified or not. Commit violence and that violence colors everything that you are, everything that you do for the rest of your life. Once you assume someone’s life how great of you, the essence, the soul, the heart of you is gone also?
Viggo Mortensen’s Tom Stall is strong of mind and morals, tender, vulnerable, upstanding but ultimately conflicted. Mortensen turns in a dusky performance that not only shows up Tom’s soft side but also his malevolent one as well. Maria Bello, usually miss-used in her previous films is a revelation here as Edie: radiant, accomplished, dedicated and hopelessly in like with Tom but aware that many times being in like doesn’t mean you know everything about the object of that appreciate.
“A History of Violence” is Cronenberg’s “Vertigo”: his version of obsession, violence and retribution told the Cronenbergian way: slanted toward the perverse…bordering on the maniacal. Don’t blame Cronenberg because he is not Hitchcock, for he has learned his lessons from the master well. Blame him because he has advance up with a film that is bright and multi-layered though: one as transparent as a silk shroud, impartial slightly out of approach…beckoning us in for a closer, scalpel-like investigation of what makes us tick, the buttons to punch to form us react and the mechanics principal to allow us to exist.
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David Cronenberg always does films that tend to gaze at human nature in a different way: sexuality in Fracture and changes in personality in the Flee. With this film, he gets into what makes people violent and how far it can go, particularly when it comes to saving family members and loved ones. It’s a nice exploration but as a film it really left me chilly, with highlights being 2 sex scenes and a couple shots of huge violence.
Tom Stall is a family man with 2 kids leaving in a little town. He runs a local diner which one night attracts some criminal attention, which Tom ends up disposing of rather cleanly. It attracts some more attention, this time from local news and including a peculiar guy with an even stranger inspect and tells him that Tom had a remarkable different life than he does now.
While David Lynch likes to build really unusual surrealist films, David Cronenberg likes to do films that capture a observe at transformation and ways people react to things. These 2 will always develop animated movies but I kind of lean towards Cronenberg ones, even though I don’t really observe many of them. To me it’s a misstep though as the film after it ended didn’t really last with me on any level.
Casting is quite solid across the board, including William Wound, who finally puts in some menace into his “woke up too early” mutter. Viggo is always broad although he does have this tendency to divulge sometimes and Maria Bello is always pleasurable. Ed Harris is effective as a villain, with a very uneasy feeling you fetch whenever he’s around.
As for the violence in the film, it’s not incredibly violent. There’s a couple of shots that are cringe-inducing such as what happens when you punch someone in the nose a bit too powerful but it’s actually not as violent as you would consider. The 2 sex scenes are not that graphic but it’s definately not candlelight and blowing curtains, you don’t really peer remarkable during them but using your imagination they’ll glean graphic.
After the film was over I remember thinking “what was the point of this one? “. Unlike the Sail which was curious or Wreck which was incredibly erotic in the strangest sense, this doesn’t have any kick to it. It’s worth a rental but I wouldn’t purchase it unless it was a gift from someone.
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