2008 Woodie Awards
'Things We Lost in the Fire' reviewed
Director saves a failing script
by James Adams Smith
Issue date: 10/23/07 Section: Mosaic
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DreamWorks Pictures
Rating: 3 stars (out of 4)
Danish director Susanne Bier sparked the attention of American audiences with her 2006 Oscar-nominated film, "After the Wedding." In her films, Bier strips away convoluted plot and rapid imagery to allow a spiritual presence of characters who slowly drift through the beautiful documentary-style footage. The result is a poignancy derived entirely from the artistic framing of situations rather than script.
"Things We Lost in the Fire" is Bier's first English-language film. Although her skills are slightly limited working on foreign turf, she masterfully maneuvers around an uninspired script by Allan Loeb to compile an unconventional interpretation of narrative - one that is entirely driven by detailed cinematography and exceptional acting skills.
The story begins with the funeral of Steven Burke (David Duchovny), a Seattle entrepreneur. His family, including two bright kids and a devastated widow named Audrey (Halle Berry), has to cope with the loss. In a series of flashbacks, Burke reconnects with his childhood buddy Jerry (Benicio Del Toro), who has become a reckless drug addict with a heart of gold. After an awkward reunion, Audrey invites Jerry to live among her mourning family in an attempt to reconcile and redefine her life.
After almost losing her acting credibility in "A Perfect Stranger," Berry makes up for her underestimated skills with strong emotional control. Her sadness translates efficiently as the camera captures an abundance of close-ups on her teary eyes and still body. This is effective for the most part, although her loud and angry wailings can be particularly phony.
Del Toro acting like a crazed druggie for two hours is the admission's price. His persona is sincere as he captures the character's tenderness and lack of control, but he has trouble displaying believable grievances, a necessary skill for tear-jerking dramas. There are moments between the wailing Berry and the confused Del Toro where the acting fails to substantiate the emotion, leading the viewer to laughter rather than tears.
Overall, the co-stars have enough chemistry to maintain the melodrama. The audience is drawn into the inescapable depression of these characters, if not through tears, then through a lingering melancholy. However, the mood is inconsistent, subdued by unbalanced dialogue through immediate cut-offs from important scenes.
"Things We Lost in the Fire" takes a step up from the average American drama since its slow pace allows a meditation on the beauty of detail. Everything from soft fabrics to slight hand movements is enhanced by the camerawork. Since the 1989 release of Steven Soderbergh's "Sex, Lies, and Videotape," filmmakers have integrated European new-wave styles into the American drama. This juxtaposition may not always flow, but in cases like this, the new-wave style is the only thing flowing.
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