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Life as a House 2001 |
Review by Jonathan Cornwell |
Directed by Irwin Winkler
R, 145 min. (language, sexuality, drug use) |
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Starring: Kevin Kline, Kristin Scott Thomas, Hayden Christensen, Jena Malone, Mary Steenburgen, Jamey Sheridan, Scott Bakula
Producers: Irwin Winkler, Rob Cowan
Screenplay: Mark Andrus
Distributor: New Line Cinema
Released: 10/26/01 (Limited) |
Rating:
 (out of ) |
Oscar season is clearly upon us, as evidenced by director Irwin Winkler's latest effort, Life as a House. The film itself
is built on a strong foundation of top-notch acting, but its somewhat sentimental script leaves it just short of Oscar-caliber
status. Tear-jerking movies can be effective only when encompassed by strong characters that an audience can relate to
and most importantly care about, and Life as a House certainly qualifies. Furthermore, its effectiveness must be
balanced by the actors' ability to grow their characters beyond the limits of their set boundaries - because of this, Life as a
House is a success.
George (Kevin Kline), a divorced, burnt-out baby boomer, has just lost his job to downsizing and innovation, and has recently discovered
he has an incurable form of cancer. With only four months to live, he is determined to make things right. He'll enlist the help
of his wayward son Sam (Hayden Christensen) to complete a project he's put off for years - tear down a shack where he's
living and rebuild his dream house. It's located in a plush neighborhood on the coast of California, where its views are breathtaking but its neighbors
annoying. His ex-wife Robin (Kristin Scott Thomas) is also miserable in her new life with a different husband, and is attracted
by the idea of watching (and helping) her son and former husband accomplish something worthwhile. At first Sam is at odds
with everyone and everything - earrings, studs, and plenty of eye makeup prove he's hurting - but a next door neighbor,
Alyssa (Jena Malone), gives him a reason to stick around for the summer. Slowly, George convinces Sam to help, and
Robin stirs up memories of a former love that's still irresistable for him to ignore.
The performances in the film are striking - there's not a weak one to be found. With his emotionally-draining but constrained
portrayal of George, Kline has achieved maybe his best work, and also a possible Oscar nomination. He's determined to
leave something lasting for his son, in this case a memory and a house he can call his own. Kline must balance that
determination with real-world problems and a realization of when to inform his estranged family of his condition. However,
with as much attention that's been given to Kline, it's Kristen Scott-Thomas that makes his performance even more
effective. She plays the role with such ease and elegance - we probably relate to her more than any other character. Her
character must find a balance between a new life and an old one, with former relationships and new ones. Scott-Thomas
convincingly portrays someone who is geniunely torn, miserable, yet happy at a chance to correct and forgive past mistakes.
The two are wonderful together, and if there were an award given to best duo, this would be it.
There's also another relationship taking form in the film, one that involves Sam and Alyssa. Sam is hurting and looking for
answers - his father helps, but he needs someone his own age to confide in. Alyssa is the answer. Jena Malone (Stepmom)
plays an interesting character, full of life yet also full of longing - in this case for Sam. She also must struggle with her
own mother, Mary Steenburgen, who is involved with a younger man. Hayden Christensen will invariably attract younger audiences
to the film in order to catch a glimpse of the future of the Star Wars franchise (he plays Anakin Skywalker in the upcoming
Attack of the Clones), but they'll come away even more excited about him after seeing an impressive performance for
his first major film role. And Hayden must play a difficult character - it's no Freddie Prinze Jr. character, that's for sure.
He plays Sam with a restrained sense of emotion, until it boils over in the film's more intense scenes with his father. A sure
sign of a good actor is one that can effectively manipulate several layers of character in a role - something Hayden
accomplishes here. I have a feeling that one of Lucas' bigger legacies will be his discovering of Christensen.
Life as a House doesn't come without some weaknesses, mainly in its contrivances. In this case, they are completely
unnecessary - such as the connection with the angry neighbor who threatens to stop construction or the film's lack of any
real ending, which is substituted with a weak epilogue and a shot of the sea. The script itself is only mediocre in its ability to
coax emotion from the audience, but is accomplished through the cast's stellar performances.
Despite these minor flaws, the film does accomplish more than it disappoints. We do care about the characters and their
lives by the film's end, and about how their relationships will be resolved or continued. We're not so concerned about whether
the house is built or finished, but whether or not what Sam, Robin, and Ayssa have built between them will last. George
ultimately accomplishes what he couldn't in his life - build a strong family bond that is not easily broken.
© 2001 Jonathan Cornwell
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| Masterpiece - Classic; Movie perfection |
 | Excellent - A Must See; One of the year's best films |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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