WHERE THE CRAWDADS SING (2022)

July 14, 2022

Greetings again from the darkness. This is the kind of movie that requires upfront disclosure: have you read the book or not? Since it was number one on New York Times best seller list for 2019 and 2020, and remained on the list for almost three years, it’s a legitimate question and likely the driving force behind Reese Witherspoon producing the film. I have not read the book and came in with only a few preconceived notions, and enough background information to make it more interesting, not less. This is director Olivia Newman’s first film since her debut FIRST MATCH (2018), and Lucy Alibar (BEASTS OF THE SOUTHERN WILD, 2012) adapted the screenplay from the enormously popular novel written by Delia Owens.

Kya Clark is the youngest child of Ma (Ahna O’Reilly) and Pa (Garret Dillahunt). We get a quick glimpse at their strained existence in the marshes of Barkley Cove, North Carolina in 1953, including the violent abuse administered by Pa. It doesn’t take long for her parents and siblings to abandon her, leaving young Kya (JoJo Regina) to fend for herself in what most would consider a harsh environment. But Kya becomes one with nature. Though illiterate, she draws and charts local bugs, bird, and water creatures, while scrounging out a meager living thanks to assistance from local black store owners, Jumpin’ (Sterling Macer Jr) and Mabel (Michael Hyatt).

Daisy Edgar-Jones (“Normal People”, FRESH, 2022) plays older Kya, the one townspeople refer to as “Marsh Girl”. Sensitive local boy Tate (Taylor John Smith) shares Kya’s interest in nature and teaches her to read and write … surely having little to do with her being the prettiest marsh girl you’ve ever seen. When Tate heads off to college, adding another to the Kya abandonment roster, she’s pursued by local rich boy Chase (Harris Dickinson). This becomes another in the film’s storylines when Chase turns up dead after a fall from a fire tower. Despite no footprints, no fingerprints, and very little evidence, Kya is charged with murder and faces the death penalty. A local nice guy attorney (David Strathairn) takes the case and shy, withdrawn Kya provides little help in her defense.

So let’s chat about what’s good and not so good. The Kya character is fascinating and certainly worthy of being the centerpiece of a story. There are similarities to other stories about those who were raised outside of society. NELL (1994) and Tarzan come to mind, but despite the marsh environment, Kya never is a wild creature, and only as a child do we see her dirty and unkempt. This is a flaw, as Kya should be more raw and primitive … at least until her mentoring by Tate. It’s a mystery how Kya is as smart and clean and refined as she appears, since it’s mostly just the store owners who provide even a dash of support. The structure of the film is decidedly fluid – bouncing from timeline to timeline and from story to story. This kind of structure requires superb writing, something that just isn’t in the cards. The courtroom drama and murder case against Kya are especially lightweight and sloppy. Most of it makes little sense and bears almost no resemblance to what an actual trial would look like. Instead, it’s slick for dramatic effect.

The cliches are to be expected, and Ms. Edgar-Jones is to be commended to making the most of a role that often requires her to sit with bowed head or gazing at nature. The narration is odd, with an inordinate number of words jumbled up to initially differentiate between a marsh and a swamp. The love story seems pulled directly from a romance novel, and in fact, that’s probably the best description of his, rather than a murder mystery. Chase and Tate are textbook examples of the extremes of men, and Kya’s Pa adds fuel to the argument that most men are experts at letting down women. Kya’s attention to nature and emphasis on survival instinct vs morality are used multiple times to guide us toward the ending, which evidently is supposed to be a twist reveal. Cinematographer Polly Morgan inserts some nice shots of nature, and the music from Oscar winning composer Mychael Danna (LIFE OF PI) is excellent. Taylor Swift’s new song, “Carolina” plays over the closing credits. It’s not likely a film that will win over anyone who wasn’t a fan of the book, but those devoted readers will surely be on board.

It should be noted that a story more interesting that what we see in the movie, is the real-life events of writer Delia Owens and her husband from their twenty plus years in Africa. This includes a murder case with some curious similarities to what she wrote about. If you are interested, track down the 2010 New Yorker article, “The Hunted”, researched and written by Jeffrey Goldberg.

Opens in theaters July 15, 2022

WATCH THE TRAILER


THE INTERVENTION (2016)

August 25, 2016

intervention Greetings again from the darkness. Clea DuVall: Actress/Writer/Director/Producer. No one who has followed her outstanding career (especially as a standout in many independent films) can be surprised that she is spreading her creative wings into all aspects of filmmaking. Her directorial debut can best be described as a contemporary version of Lawrence Kasdan’s The Big Chill (1983) for today’s thirty-somethings.

Casting is key for an ensemble project, and it’s especially difficult for a serio-comedy exploring the insecurities and inherent unhappiness that corresponds to the closest relationships. The premise here is that four couples meet at a beautiful and isolated lake house just outside of Savannah. The motivation for this meet up of old friends is a “marriage intervention” for one of the couples … something that must have seemed better in theory than it plays out in reality.

The couple whose marriage is in the target zone is played by Cobie Smulders (The Avengers, “How I Met Your Mother”) as exhausted mother of three Ruby, and Vincent Piazza (“Boardwalk Empire”) as the long-ago-gave-up-trying Peter. The others are played by Melanie Lynskey (“Two and a Half Men”) as Annie, who has continually postponed her wedding to super nice guy fiancé Matt played by Jason Ritter; Natasha Lyonne (“Orange is the New Black”) as Sarah, long-time partner to Ruby’s sister Jessie (Clea DuVall); and Ben Schwartz (“House of Lies”) as Jack, who brings his free-spirited, much younger girlfriend Lola (Alia Shawkat, State of Grace).

We quickly witness the bitterness and lack of caring that has poisoned the marriage of Ruby and Peter, and of course, it doesn’t take long to spot all the cracks in the relationships and personalities of the others. Annie is a control-freak who appears to be a full blown alcoholic, while Matt is such a nice guy, that he refuses to stand up for himself and have some pride. Sarah and Jessie avoid any serious discussion regarding why they aren’t living together yet, while Jessie’s weakness for younger girls plays a role – as does Sarah’s secret. Jack is obviously avoiding dealing with some personal issue (which we later learn) as he plays kissie-face with the no-strings-attached Lola (not Lolita).

The script tries to tackle an enormous number of issues, sub-plots and characters, and while we pretty easily get a feel for each, we never understand how these people ever agreed that a group attack was the best strategy. No amount of charades, barbeque or kickball can hide the messes that define each of these folks … whether married or not.

The actors have tremendous comedy timing and handle these moments much better than the ultra-dramatic moments. Cobie Smulders and Ben Schwartz are real standouts here, which is quite a compliment given the tremendous on screen talents on display. It’s a group that can gracefully pull off a Subaru joke while also playing cut-throat charades and dodging thrown peaches.

Ms. DuVall will undoubtedly go on to make better films than this one, but as a first project it offers some terrific moments. Sara Quinn (of Tegan and Sara) scores the film, and though some excellent tunes are included, the music was at times disruptive to the flow of the story. The film will probably hit home with a great many who fall into the thirty-something age group, though older viewers will likely prefer to re-visit The Big Chill from more than 30 years ago.

watch the trailer: