I noticed on Filmaffinity that cl had given a lukewarm rating to “The Sweet Hereafter”. I think almost as highly of that movie as I do of “Exotica”, and I almost chose it for my pick. (But I’m glad now to have done “Exotica” instead.) So Christy, I was wondering if you might have anything to say about your reaction to “The Sweet Hereafter”. You said that you didn’t know until recently that both these films were from the same director? Does knowing that make a difference? Or just more generally, how do you think the two movies compare?
Since “The Sweet Hereafter” wasn’t the club film, perhaps we should note any spoilers in the comments.
Showing posts with label The Sweet Hereafter. Show all posts
Showing posts with label The Sweet Hereafter. Show all posts
Thursday, December 07, 2006
A different kind of murder mystery
NM says in an earlier comment that one of the things she liked about "Exotica" was how, as a "Twin Peaks" fan, she thought it had similarities. I agree that the mood and unexpected plot turns are similar.
But the comment also made me reconsider just how unconventional "Exotica's" story is. "Twin Peaks," as unique as it is, begins with a Hollywood- or audience-friendly tale: It centers around the mystery of a young woman's death. (And the series fell apart once the mystery was solved, even with all the strong supporting storylines.) This is the stuff of most audience-friendly fare: "Without a Trace," "C.S.I.," etc., with pretty women or children as typical victims.
Yet even though the murder of Francis' daughter is the motive/link we're waiting for during much of the movie, it's pretty much glossed over as no more than a senseless and tragic event. The movie's more about the emotionally burdensome aftermath (much like "The Sweet Hereafter"). There isn't even much exploration of why Francis was viewed as a suspect, other than the possibility that he thought Sara wasn't his child. I don't know whether Atom Egoyan had trouble either making or financing his films, but I admire him in retrospect for serving up a story that doesn't pander to traditionally audience-friendly storylines. There's a young girl's murder that isn't romanticized or exploited in any way.
But the comment also made me reconsider just how unconventional "Exotica's" story is. "Twin Peaks," as unique as it is, begins with a Hollywood- or audience-friendly tale: It centers around the mystery of a young woman's death. (And the series fell apart once the mystery was solved, even with all the strong supporting storylines.) This is the stuff of most audience-friendly fare: "Without a Trace," "C.S.I.," etc., with pretty women or children as typical victims.
Yet even though the murder of Francis' daughter is the motive/link we're waiting for during much of the movie, it's pretty much glossed over as no more than a senseless and tragic event. The movie's more about the emotionally burdensome aftermath (much like "The Sweet Hereafter"). There isn't even much exploration of why Francis was viewed as a suspect, other than the possibility that he thought Sara wasn't his child. I don't know whether Atom Egoyan had trouble either making or financing his films, but I admire him in retrospect for serving up a story that doesn't pander to traditionally audience-friendly storylines. There's a young girl's murder that isn't romanticized or exploited in any way.
Subscribe to:
Posts (Atom)