David O'ConnellThe Messenger
November 3rd 2010 05:21
Oren Moverman’s directorial debut is an affecting look at the lives of two army soldiers brought together to perform the thankless task of notifying the next of kin of their loved ones' passing. For Will Montgomery (Ben Foster), recovering from wounds sustained in battle and struggling to come to terms with his fading relationship to old flame Kelly (Jena Malone), this new assignment seems a hellish posting. Not that Will communicates his despair with any acute external reactions; in essence, he’s a man of few words, with a tendency to internalise his torment.
As part of the CNO (Casualty Notification Officer) squad he’s placed under the tutelage of Captain Tony Stone (Woody Harrelson), an experienced officer who advocates strict adherence to the protocol associated with their duty. Initially Stone seems like a formidable figure, however there is a similarly deep-rooted sadness gestating inside him – one that is slowly triggered over the course of the film as tainted fragments of his past are hauled to the surface. More than anything, John is haunted by his inability to become an active member of the service, his work on the homefront mild compensation only.
Though their union is an uncomfortable and unnatural one at first, the men reluctantly form a bond. It’s an arduous process however, one forged in the collective misery they have to wear like a yoke in being conveyors of the kind of devastating news nobody ever wants to hear. Steve Buscemi has a great scene as a distraught father who repels the pair with instantaneous rage and accusations of cowardice. But it’s Olivia (Samantha Morton) whose strangely mollified reaction draws the interest of Will who continues to view her from afar in the days following to understand the true implications of the revelation of her husband’s death.
Harrelson and Foster
The Messenger offers the chance of a significant career boost for Foster who has mostly essayed a slew of psychotic, almost cartoonish bad guys until now, notably in Hostage (2005) and James Mangold’s 3:10 to Yuma (2007) remake. Given a well-rounded, troubled character to shape on his own, he thrives here, offering a compelling portrait of a man who seems close to the edge at times but has enough fortitude and inner strength to pull him back to saner ground.
Though he was rewarded with an Academy Award nomination for his contribution, Harrelson - though undeniably fine and especially heart-rending in a late scene - mostly plays second fiddle to Foster. Morton too achieves a potent, believable mix of vulnerability and strength in equal measure in her portrayal of a woman with no other option but to pick up the pieces of her life.
One of the great joys of The Messenger is being allowed to luxuriate in its purist cinematic virtues and emphasis on performance, best exemplified in Moverman and cinematographer Bobby Bukowski’s decision to allow key moments to play out in single, uninterrupted shots. The most telling example sees Will and Olivia entering her home together; it seems certain they will guiltily and uncomfortably consummate their awkward ‘friendship’, an almost wordless communication that has its origins in a universal well of pain. Though they touch, then part on numerous occasions, a fascinating, unexpected resolution surfaces from this long sequence; rather than tease, the scene hypnotises – chiefly because of the raw honesty of the performances, but also because Moverman refuses to break our scrutiny and thus damage the scene’s integrity.
The Messenger (2009) is a quietly moving drama with a complexity that churns away just below the surface of things. It’s both superbly crafted and admirably restrained, treating the underlying seriousness of the narrative with a low-key approach that adds intriguing layers to the central trio of characters. This is a magnificent debut by Moverman, a former Israeli soldier who, along with co-writer Alessandro Camon, manages to thought-provokingly confront relevant, humanist themes with the maturity of a cinema veteran, all the while eschewing any overt political statement.
The Messenger opens in Australian cinemas next Thursday, November 11.
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Comment by MelG
Comment by Matt Shea
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Thanks Matt, you probably saw his edgy support work in Six Feet Under a few years back too?
He really was one of the most intense evil bastard killers of all time in Yuma, no doubt about it! Definitely check this one out if you can mate, it's a fantastic piece of indie cinema.
Comment by ShaunK
Screen Adventure
another fine review my friend!
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Comment by JohnDoe
Film & TV on DVD
I have had this one in my DVD collection for a while now but still not seen it. Waiting for the right mood to hit me as I am aware of its understated intent.
Foster stole 3.10 to Yuma, which for me was a very average western remake with a ridiculous ending and was dragged down by Crowe's dandy, manufactured performance.