2008 Woodie Awards
Deeply personal film offers glimpse of human nature
Eric Van Wyke
Issue date: 4/11/08 Section: Features
David Gordon Green's "Snow Angels," adapted from Stewart O'Nan's novel of the same name, carefully intertwines the lives of seemingly ordinary people living in a small, sleepy Midwest town.
The film focuses on high schooler Arthur Parkinson (Michael Angarano), his old baby sitter and current co-worker Annie (Kate Beckinsale) and her recent ex-husband, Glenn (Sam Rockwell). The struggle to maintain relationships between these individuals comprises the plot of "Snow Angels."
Although I haven't read the book, it's a fair assumption to say that most films adapted from novels don't cover all the material presented in their original written form. I'm sure this is probably the case with "Snow Angels," as well.
However, a particular strength of the film (and of Green as a director) is that many of its scenes are deliberately cut short, giving us just enough of what we need to see so we are able to fill the rest of what may or may not happen ourselves. This method proves incredibly effective in spanning the vast amount of material a novel presents within the allotted length of a feature film.
As we are gradually exposed to each character and the relationships between the individuals, the audience becomes aware that everyone, in their own way, falls short of their potential. They're all too caught up in their own problems to have the time to worry about anyone else, a concept that plays a major role in developing their own shortcomings. Many of the main characters seem either too reluctant or too afraid to grasp what is right in front of them, which is skillfully conveyed throughout the entire film.
An overwhelming strength of "Snow Angels" is how authentically many of the characters interact. For instance, Annie and Arthur both work at a Chinese restaurant, even thought Annie used to baby-sit Arthur when he was little.
The two flirt in a deviously provocative manner, giving us hints of their mutual attraction through body language. This is an early sign of a weakness in Annie, who seems to possess the initial willpower to become something better than she is. At the same time, she is bogged down through her obligations to her toddler daughter, among other things.
The quirkily realistic relationships conveyed throughout the film easily involve the viewer in the problems of the characters: They are all scared of failure. Their suppression of fear, along with their almost forced inability to step back and look at their own lives, is what holds them back.
Although everyone seems to be hiding their true feelings in different ways, the unraveling, shocking plot toward the end still managed to take me by surprise.
In the first half of the film, Glenn's character seems naively optimistic. He seems just slightly too oblivious to recognize the hopeless, mundane life he leads. This greatly adds to his initial charm, especially when he is given custody of his young daughter.
As he takes her out to the mall to have lunch, he holds his daughter's hands, and both bow their heads and close their eyes. As he quietly recites a prayer before their meal in the middle of the food court, his young daughter peeks up at him in the middle of the prayer.
There are many scenes like this, that, without taking too much effort to convey anything substantial, paint an intimate portrait of the lives of each character and their inability to change.
What makes this film so achingly sad is its sheer realism. I was able to fall for each character, to empathize with them so quickly. It is only when we are able to see and somewhat understand their actions toward the end that we realize what is so completely unrelenting, and brutally unapologetic, about what many people in the film refuse to acknowledge about themselves.
"It's funny how you can spot fake smiles in pictures," Arthur's mother says to him, following the aftermath of the horrifying events that occur near the film's climax. "You notice how they don't take pictures on sad days," he replies back.
Perhaps this film offers us a vivid glimpse into one of those sad days in a way so truly personal that a work such as this will not soon be forgotten.
ericvanwyke@dailynebraskan.com
The film focuses on high schooler Arthur Parkinson (Michael Angarano), his old baby sitter and current co-worker Annie (Kate Beckinsale) and her recent ex-husband, Glenn (Sam Rockwell). The struggle to maintain relationships between these individuals comprises the plot of "Snow Angels."
Although I haven't read the book, it's a fair assumption to say that most films adapted from novels don't cover all the material presented in their original written form. I'm sure this is probably the case with "Snow Angels," as well.
However, a particular strength of the film (and of Green as a director) is that many of its scenes are deliberately cut short, giving us just enough of what we need to see so we are able to fill the rest of what may or may not happen ourselves. This method proves incredibly effective in spanning the vast amount of material a novel presents within the allotted length of a feature film.
As we are gradually exposed to each character and the relationships between the individuals, the audience becomes aware that everyone, in their own way, falls short of their potential. They're all too caught up in their own problems to have the time to worry about anyone else, a concept that plays a major role in developing their own shortcomings. Many of the main characters seem either too reluctant or too afraid to grasp what is right in front of them, which is skillfully conveyed throughout the entire film.
An overwhelming strength of "Snow Angels" is how authentically many of the characters interact. For instance, Annie and Arthur both work at a Chinese restaurant, even thought Annie used to baby-sit Arthur when he was little.
The two flirt in a deviously provocative manner, giving us hints of their mutual attraction through body language. This is an early sign of a weakness in Annie, who seems to possess the initial willpower to become something better than she is. At the same time, she is bogged down through her obligations to her toddler daughter, among other things.
The quirkily realistic relationships conveyed throughout the film easily involve the viewer in the problems of the characters: They are all scared of failure. Their suppression of fear, along with their almost forced inability to step back and look at their own lives, is what holds them back.
Although everyone seems to be hiding their true feelings in different ways, the unraveling, shocking plot toward the end still managed to take me by surprise.
In the first half of the film, Glenn's character seems naively optimistic. He seems just slightly too oblivious to recognize the hopeless, mundane life he leads. This greatly adds to his initial charm, especially when he is given custody of his young daughter.
As he takes her out to the mall to have lunch, he holds his daughter's hands, and both bow their heads and close their eyes. As he quietly recites a prayer before their meal in the middle of the food court, his young daughter peeks up at him in the middle of the prayer.
There are many scenes like this, that, without taking too much effort to convey anything substantial, paint an intimate portrait of the lives of each character and their inability to change.
What makes this film so achingly sad is its sheer realism. I was able to fall for each character, to empathize with them so quickly. It is only when we are able to see and somewhat understand their actions toward the end that we realize what is so completely unrelenting, and brutally unapologetic, about what many people in the film refuse to acknowledge about themselves.
"It's funny how you can spot fake smiles in pictures," Arthur's mother says to him, following the aftermath of the horrifying events that occur near the film's climax. "You notice how they don't take pictures on sad days," he replies back.
Perhaps this film offers us a vivid glimpse into one of those sad days in a way so truly personal that a work such as this will not soon be forgotten.
ericvanwyke@dailynebraskan.com
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