Whether true or not, 'Dawning' quickly gives the impression of being very indie and very low-budget. This is apparent enough just in considering the most prominent names involved in the production - of them all, only two have any significant number of credits. Gratifyingly, I've seen Christine Kellog-Darrin before, and very much enjoyed her work; I'm a bit more familiar still with Najarra Townsed - I like her so much, it was Townsend's involvement that drew me in. The collective lack of renown among cast and crew is the least of the tells here, however. The direction feels unpracticed to the point of weakness, and the writing, too - and the combination of these means a distinct feeling of artifice. Knowing that at least two of the assembled actors are very skilled, I assume it's the latter that coerces all into portrayals that struggle to seem authentic, especially when the uneven pacing languishes in quiet moments.
Notable, unfortunate deficiencies aside, though, I think there are some really great ideas here. 'Dawning' is the story of a direly awkward family reunion of sorts, wherein each passing scene reveals ever greater fractures in the ties that bind. These clefts are deepened as the gathering at a remote cabin is faced with extraordinary circumstances, and the uncertain threat of something dangerous imposing on them. It's a great premise. In addition to that of the overall narrative, I like the core concept of the dialogue, and the scene writing, and even the characterizations. But the actual execution - the construction of detail in writing and direction that would fill out each of these aspects - is pointedly lacking. Whether the flaws can be chalked up to inexperience, lack of ability, forced shortcuts, or something else is up for debate. The definite result, however, is a feature that misses the mark.
With about 16 minutes left we get an instance of overblown delivery that almost spoils the entirety of what value the film has to offer. Moreover, the nature of the goings-on is left terribly amorphous, furthering the overarching notion of ham-handed contrivance. But what's truly disappointing is that it didn't have to be this way. With more thoughtful care in writing and direction, 'Dawning' could have tapped into fantastic potential. Why, unexplained phenomenon underlying the premise, and the somewhat staggered presentation - pacing, delivery, half-hearted sound design, subtle background music - almost give the notion that the screenplay was actually adapted from the draft of an intended stage play, in which lack of special effects would demand much be left to suggestion and imagination. But still the same faults remain.
I'm placing a lot of the onus on director Gregg Holtgrewe and co-writer Matthew Wilkins, it's true. I don't mean to wholly disparage either; I'd like to think that they've grown in their capabilities in the years since, and do more to impress me now. But professional development doesn't come without critique, and once more - I regret to say it's their specific contributions behind the camera and holding the pen that do the most to undercut the possibilities of this movie. I think it's a strong idea, with further strengths folded in, that in 2009 they simply lacked the wherewithal to bring to utmost fruition. With that said - I think 'Dawning,' in total, is perfectly average, stuck in the middle between low and high quality. Yet while I acknowledge bias, I'm inclined to believe Najarra Townsend's acting is of such caliber that her skills peek through the indelicacies of film-making and story-telling to elevate the picture a hair above unmoving neutral ground. It's a small boost, but it's enough.
I don't think I could argue with any viewer offering a more harsh assessment; to be sure, this is a very rough ride. I see the diamond in that rough, though, that at the time it seems no one was able to wholly unearth. There's no reason to go out of your way to watch this, and keep your expectations mild if you do, as 'Dawning' is an unlucky illustration of how flimsy direction and flimsy writing can hamper a production. Still, I like it more than I don't. Take that as you will.
