Waking the Dead

Never mind `Traffic'. Forget `Gladiator'. To find 2000's finest, most nail-on-the-head perfect film, you'll need to look a little deeper. A small film that only enjoyed limited release in theaters and isn't getting much attention on DVD either, is Keith Gordon's latest, `Waking the Dead'.

Back in 1992, there was another under-appreciated independent film called `A Midnight Clear' that had the misfortune of being released alongside the likes of `Unforgiven' and `Last of the Mohicans'. For reasons I can't fathom, this brilliant film seemingly did nothing to help Gordon's career. His budgets stayed small, but he continued looking for the most daring and fascinating material. In 1996, he released `Mother Night', another war-themed film, only this time set in the aftermath of WWII.

With `Waking the Dead', Gordon outdoes himself. He casts Billy Crudup as Fielding Pierce, an ambitious Coast Guard officer who'd like to be president--and he means it. His world is turned upside-down when he meets Sarah Williams (Jennifer Connelly), who just wants to feel like she `lives on the planet'. Fielding and Sarah could not be more different, yet they cannot live without each other. Each is the antithesis of the other, which dooms their relationship and intensifies their love at the same time.

The film begins with the announcement of Sarah's death, and continues pulling you back and forth in time. Employing this storytelling technique and maintaining the momentum of the story is a difficult task. While we see Fielding wrestle with her memory, we're shown the powerful connection these two had during her life.

What's more, Fielding begins to see visions of her. Some of these visions are so real, he begins to believe she's alive. The hauntings come just as he begins campaigning for the U.S. House. It begins to affect his life and threatens his campaign. The question of whether Sarah is really alive is the dramatic carrot Gordon dangles in front of us. It's then we realize that she was his conscience in life and remains so in death. Gordon pours it on right until the very last frame. He gets the best performance of Connelly's career out of her, plus a jaw-dropping performance out of Crudup that's worthy of an Oscar. Whoever was in charge of plugging this film for awards nominations must have fallen asleep at the wheel (though I see it did win an Independent Spirit award for its script).

That this film or others in the same situation get no recognition is definitely for the best. The more popular a film becomes, the more idiots that come out of the woodwork to second-guess it. So best to leave it to be discovered by those willing to seek it out. It is 2000's crown jewel.

Grade: A (but only because there isn't a higher grade)

I have never commented on a movie before but after reading some of the reviews i feel obliged to say something.

anyone who disparages this movie simply doesn't get it and the reason they don't get it is because they don't understand what it means to have both noble aspirations for oneself and love for another based on respect for that person's character; in other words, they are unable to relate to the main characters. this movie strikes such a deep chord (for some of us) because it recognizes and speaks about the two single most important things in life - what we devote our lives to and who we devote our lives to. it is so emotionally powerful because it examines a case when these two passions come into conflict and must battle each other for supremacy. i can scarcely put my feelings for this movie into words because does a sublime job taking on the weightiest of subjects - fraught with emotional and moral complexities that most people simply cannot relate to.

if your reaction to this review is 'this guy is such an arrogant f*ck,' then skip this movie. otherwise prepare to make room on your top-5-movies-ever list.

Fielding Pierce is perhaps one of the greatest fictional characters ever created. I have read the novel on which this movie is based and can safely say that I would name my kid Fielding if the name wasn't so pretentious sounding. Fielding Pierce is passionate, intelligent, and honest. He possesses a sense of integrity that, unfortunately, is not very common in a world that becomes more apathetic with each day that passes. I relate to Fielding because, like him, I stand poised and ready to enter a career that I love, but at the same time resent and hate for much of what it represents. Billy Crudup proves himself to be in the same category as Edward Norton, Joaquin Phoenix and Leonardo Dicaprio as one of the greatest actors of his generation. Every time I watch "Waking the Dead", I find myself more moved by Crudup's passionate performance. I didn't think anyone could honestly portray Scott Spencer's amazing character, but Crudup embodies Fielding, heart and soul.

Based on initial assumptions, this could easily be taken for the usual chick-flick weeper, and dismissed for that reason and because it does not follow the usual rules of narrative, but jumps before and after the key romance: but don't be fooled--while not intellectually complex, this is a film of some suspense and a good deal of character development, a film about how love could upend our expectations and about our reactions to sudden and permanent loss.

Waking The Dead is so crammed with genuine performances from the ensemble that if you allow yourself an immersion in Billy Crudup's confusion, you cannot help but think about those who perhaps you have lost and what they mean to you now; both Crudup and Connelly exude dedication, and one key scene stands out as an exemplar of acting technique coupled with intuitive choices; in his director's commentary, Keith Gordon reveals himself to be the sort of guy you'd like to know, not only for his direct honesty, but simply because he's fun to listen to

I cannot recommend this film strongly enough. This story celebrates the timelessness of love without cynicism or irony. It portrays a relationship in all its many forms: moments of joy, frustration, passion, tenderness, tragedy, and even a bit of insanity. Fielding Pierce and Sarah Williams are the two politically-minded lovers. While they share very similar political goals, their means of achieving those goals are vastly different. Fielding is the ambitious golden boy, campaigning through the political machine in an effort to affect change by working within the established system. Sarah is the rebel outsider, who believes real change will never be accomplished within a corrupt system, leaving political revolution as the only alternative. The film never passes judgement on which is the nobler or the more effective method. Rather, it chooses to portray Fielding and Sarah as two people whose love for what they believe in is second only to the love they have for each other.