Bereft

"Bereft" is a cathartic take on WASPs dealing with grief, standing to the equal between "Ordinary People" and "In the Bedroom."

Peter Ferland's debut script eschews the former film's talky therapy shortcuts and debut co-directors Tim Daly and J. Clark Mathis allow the story to unfold visually. While not as violent as the latter film, it suspensefully reveals disturbing character and situations gradually, though I would recommend a title change to further the mystery -- and also because those on line at the Tribeca Film Festival will probably not be unique in mispronouncing it, saying BARE-fit instead of the correct be-REFT, even though it dovetailed with the Festival's genesis.

With more than a hint of "One-Hour Photo" in spookily borrowing happy families, the bucolic Vermont mise en scene and eccentric small town humor are increasingly jarring as we with rising alarm watch "Molly" (a very movingly imploding Vinessa Shaw) turn from "the good girl" (as Ferland described her in the post-screening Q & A) photographing pretty corny landscapes to staging edgy Cindy Sherman-esque ghost-catching reality and provoking scary opportunities to express her feelings. "Molly" as an observant, lone walker in contrast to passing and stopping cars was effective both in furthering the plot and as a continually reinforcing visual theme.

Edward Herrmann plays a more avuncular version of his New England patriarch in "Gilmore Girls," while Tim Blake Nelson and Daly add contrasting tension as the, respectively, sweet and sour poor white trash in the neighborhood. Daly's swaggering macho threat is reinforced with his character's unsettling leit motif in the music (uncredited on the imdb and I forget the composer). Ari Graynor terrifically caught the natural aggrieved tone of the living-in-today kid sister and Marsha Mason the clueless, conflict-avoiding mother. The directors explained they had only four days of prep, so that probably explains the lack of coordination in the actors' accents, with no hint of Down East Vermont.

Shot in video, edited on a Mac, according to Mathis, who also served as director of photography, and screened in HD at the Festival, the cinematography and quiet use of special effects beautifully set the changing moods. As the film was financed by Showtime (brought in just under the $1 million budget according to proud co-producer Daly), I presume it will be debuting on cable.

It was nice of the Vermont Film Commission to hand out Ben & Jerry's coupons after the screening!

This movie was worth watching if you don't like to have to story line of movies "spoonfed" to you. Molly's loss of her husband had made her unpredictable and miserable, and I can relate to her fear and depression. It was probably the most realistic portrayal of someone who has lost a loved one that I have seen in a long time, and her actions, although irrational, made the viewers understand how desperate she was to be in the presence of her dead husband. I believe the reason that she did those crazy things that she did was so she would feel Joel's presence around her.

She wasn't interested in moving on in a relationship with someone else, she was putting all her energy into making everyone in her life think she was over her husband's death.

I thought this movie was very thought provoking and made me realize how fragile the human mind is, and how people deal with loss and grieving.

I saw this film premiere at the Tribeca Film Festival in 2004 and was mortified to see that it was a blatant rip-off of the much smarter, more compelling, and superior film WAKING THE DEAD (based on the novel by Scott Spencer). Someone in the Q&A with the cast & crew afterward even addressed this issue stating that the film was very much like WAKING THE DEAD and asked the screenwriter if he was influenced by the film... I think that this threw him, never expecting to get caught red handed and confronted in a room of his peers - he stumbled and said "yes, it was an influence" - HE ADMITTED IT IN FRONT OF 500 PEOPLE!!! Aside from it's contrived tangentential subplot featuring Tim Blake Nelson, the only attempt made to hide the main storyline's plagiarism is by changing the gender of the main character and telling the story through the eyes of a woman. In the retelling, the lecherous screenwriter even rips-off (almost verbatim) one of the climactic character arc monologues. The movie (dare I even call it that) is an appalling example of contempt and disrespect for what is original in the world. Those responsibe (and you know who you are) should be ashamed! My sympathies go out to all those who spent their time and energy making this film, blind of the truth.

"Bereft" has been exquisitely photographed by J. Clark Mathis. In fact, this is a film that boasts two directors, as Timothy, (aka Tim) Daly, shares the title with Mr. Mathis. "Bereft" is a story that is haunting, as it will stay with the viewer for a long time. The screen play by Peter Ferland presents a fresh approach to bereavement.

As the film unfolds, one hasn't a clue of what is going on. We watch as Molly is taking pictures in which she is dressed as a bride. We also see a man behind her, but we wonder immediately if he is real. Molly is seen roaming Vermont's scenic back roads on her way to work, which of course, doesn't make much sense to us. We also witness Molly pilfering groceries from the local market, as well as Polaroid film from the place where she works. We come to realize Molly is suffering because of something, but we are only given clues as to what is the real problem with this young woman. What's wrong with this picture?

Molly's parents are people who appear to live comfortably. Her sister is a teen ager who is rebelling against authority. Little by little we get to know a bit more of what is troubling Molly. Especially when she begins her friendship with Denis, the kind, but troubled man that lives in a dilapidated trailer. When Denis' uncle, and partner in crime, joins them, it leads the trio into the house where Molly passes on her way to work. Then, and only then, we get to know the truth about what has really happened to Molly.

Vinessa Shaw makes a mysterious Molly. This young actress approaches her role with such sure footing that one can guess she will go far. Ms. Shaw works well under the guidance of the directors. Tim Blake Nelson, is always effective in everything he does. He proves in this movie why he is one of our best character actors. Tim Daly, as he is billed in the film, has a small, but pivotal part as Denis' uncle. Marsha Mason and Edward Hermann play Molly's aloof parents. Ari Graynor has a few good moments as Louise, the rebel sister.

Aside from the great views of Vermont in summer, this small film will surprise anyone willing to see this young woman deal with a grief that is so overpowering that it's ruining her life. Also, it marks an auspicious debut for both directors.

Bereft is a pretty good, if undemanding, movie. Short on plot this is essentially a character study. A woman trying to cope with the after effects of emotional upheaval. A random event which forever changes her life. The film has many qualities; the landscape, the photography, the music, the interesting range of support characters but what really makes Bereft worth watching is the performance of the lead; Molly, who is quite beautifully played by Vinessa Shaw.

Molly doesn't have a tremendous amount of dialogue, a lot of her mood is conveyed through other means, eccentric behaviour, photographing everything - to the annoyance of those around her. But she is a character who will remain with you long after the film has finished. Obviously this isn't a main stream movie, the pacing and the absence of strong story line are not going to be to everyone's taste. However I thought it was fascinating and well worth watching.

An intelligent film, that perhaps doesn't totally deliver everything you want it to but still has a lot going for it.