SUCKER-PUNCHED

By: B

I am not excited to write about The House of Sand and Fog, mainly because I hate thinking about the movie. The mere thought of this film sends a chill down my spine and makes me want to call loved ones to make sure they're okay. This movie isn't just depressing; it's one of the darkest movies released in some time. The scenery, the mood, the characters, the dialogue… everything is gray.

The House of Sand and Fog tells the tragic story of Kathy Nicolo, (Jennifer Connelly) a housekeeper wrongfully evicted from her home. A foreigner by the name of Behrani (Ben Kingsley) soon buys the home and moves in with his family. The woman tries to get her house back while the man tries to ignore her attempts and start a new life.

Kathy is a desperate, addictive soul. Her husband has left her but she hasn't yet told her family. Dishes are stacked up, mail is unopened. Possessing little money, Kathy has limited options once evicted. She takes to sleeping in her car. We see a woman with very little; the house (left by her dead father) is all she has to fight for.

Behrani is a former Iranian military officer who enjoyed respect and riches in his old country. In America, the rigid and proud Behrani does construction work and runs a gas station cash register to provide for his family. When he learns of the opportunity to buy the house, he jumps at the chance. The house represents new beginnings, a way to find the happiness he once possessed in his old life.

Kathy soon develops a relationship with the police officer that evicted her. The officer's name is Les Burdon (Ron Eldard), and he goes through a deeper character change than anyone. We first see him as an aide to Kathy, but he turns from heroic to desperate very quickly. After family problems erupt, Burdon decides to stay with Kathy. The house means for Burdon a new home with the woman he is falling in love with.

The pacing of Sand and Fog is slow but accurate. Every scene is in real time, and we get to know the characters with small cues. Connelly and Kingsley slowly let us in, let us know their values. It is important that the audience is shown how important this house is for all parties involved, and director Vadim Perelman is adept at telling their story, slowly but surely. The audience is treated with respect; nothing is handed to us.

However, the only downfall of the movie is the leap taken by every character to reach the final act. We are convinced that this house represents something more, that both sides aren't going to go away easily. However, the steps taken by once-logical characters seem unnecessary and improbable. The first two-thirds of Sand and Fog are slow but important, especially for a movie of this nature. The last third of the movie is exciting, but the transition from second to third act is faulty. There are unrealistic decisions; simply put, the people portrayed in the first two-thirds of the film would not have acted the way they do in act three. The final act made the movie, but the audience is not shown why the characters made such reckless decisions. There seemed to have been other options.

This movie is saved by the sheer magnitude of the events, by the constant mood and, above all, the performances. This is a great story, simple in terms of setting and plot, but complex given the context and personality of the characters. It is a tale that reminds us that amazing stories can be found anywhere and are happening all the time.

The mood captured by director Perelman is exquisite. The credibility of the magnitude rests on the audience's ability to believe that this story really could happen. The dialogue is understated and quiet; even happiness is overshadowed by impending disaster. The scenery is almost always gray, and camera movements are slow and direct. Sand and Fog is mostly shot with the subtlety of a documentary; a decision that helps set the tone of the film.

The acting in Sand and Fog is superb, and carried the movie through the slow scenes. Connelly was brilliant, telling her story with simple reactions and motions. Kingsley was a perfect match in a difficult role. He had to exhibit calculated rage and blind pride, both of which he pulled off incredibly. While Eldard, playing Les, was less than spectacular, Shohreh Aghdashloo was fantastic as Behrani's timid wife. Watch in particular for Connelly's call from a pay phone and Kingsley's prayer from a hospital as perhaps the best performances of the year. Absolutely heartbreaking– there really is no other way to describe their roles.

The entire movie is unfortunate, but the performances and the deep storyline make for an unbelievably powerful movie. It is also extremely sad, the heart-wrenching type of sadness that makes you wince when someone simply mentions the title of the movie. This isn't Schindler's List or Saving Private Ryan sadness; there is no accompaniment of joy and nobility. The House of Sand and Fog is similar to Leaving Las Vegas or Seven in that there is absolutely no reason to smile. There is no laughter, no smiles, no sunshine. This movie aims to teach no lessons, to offer no inspiration. It is simply a tragic story of pride and family values, of fighting for what is right. The House of Sand and Fog is deeply powerful and sad, similar to an unexpected punch to the gut.

POP RATING: 7.3

CRITICAL RATING: 8.4

B'S RATING: 7.8

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