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In a Shakespeare literature class I once took, the professor told his students that it is believed by scholars, that every single `conflict' or problem in life that man has had to confront within himself - has been illustrated somewhere in Shakespeare's work. If that be true, it would be interesting to see how he resolved this particular human condition.
The movie brings us face to face with a social problem that most of us have chosen to not consider much, - (beyond the fear) - let alone try to comprehend. And admittedly, the public hasn't had much to go on, besides the heightened, nationalized tragedies most recently in Florida, etc. To be frank, when I saw that this movie had been made (I wasn't even aware of it, until just recently!), I was skeptical. I wasn't convinced that a film could capture even the basics of the complexities that this social dilemma holds - at least in an accurate, realistic manner. But I bought it - hopeful that I would be surprised - and beyond my greatest imaginings --- I was!
This is a movie that really shouldn't be watched just once, because there is much that can be missed the first time around. The topic and issues of sex offenses is not new to me, and even then, I was mildly bewildered to find what all I had missed. On the surface, this is a fairly unembellished movie, without any fancy sets or costumes or special effects. But on a deeper level however, one could peel the pungent themes off like skin on an onion - and there are many to pick from. I took a few notes during my first viewing, and finding that I needed to go back to a scene or two, I wound up re-watching the whole movie all over again, because I kept spotting things I hadn`t noticed before.
One of the things I found that added so much depth to this movie is that each of the main characters had their own unique dilemma, or better yet - `flaw' - that stood in the way of their ability to come to grips with Walter's past.
One example is Walter's brother-in-law, Carlos (BENJAMIN BRATT), who continued to maintain a supportive relationship with Walter. Carlos couldn't see his own level of risk of sexually abusing his 12 year old daughter (Walter's niece that he has never yet met). This worried Walter enough to discuss it with his therapist. And when he finally confronts Carlos with it - the revolt from Carlos is excruciating to watch.
Another glimpse is found in the secretary (Eve) at work who is resentful of the rejection she felt from Walter when she attempted to make a move on him. She finds her quick, easy source for revenge through the sex offender registry - which she fluently justifies with others' "...right to know...".
And then there's Walter's (future) girlfriend who we witness first hand to be sexually harassed at work as a male co-worker playfully pokes her in the rear with a broom handle. Ironically, it is Walter who sees it for what it is - and cautiously checks her well-being as he passes her later in the cafeteria. In a later scene, she reveals to him fragments of her own tormented past of her victimization through her three brothers. On the surface, this scene could pass as just another window into her characterization. But on a deeper level, this scene is loaded. Walter listens and quietly validates her pain, but she is quick to point out that "...I love them....I love ALL by brothers...they are big, gentle men with families of their own." The true talent of Sedgwick oozes out not so much in the words she speaks - but in how she speaks them. And then just as quickly, her words closes the scene; "...and if you ever asked them what they did..., they would beat the _ _ _ _ out of you - and call you a _ _ _ _ ing liar!...".
Another example is Sgt. Lucas (MOS DEF) - the detective who, contrary to his loathing of Walter for what Walter represents, would yet sit and quietly share some of his deepest anguish he is forced to grapple with in his job involving the crimes of sex offenders. In a contorted sort of way, it felt as if he sought Walter out in his unconscious quest for answers to questions that haunt him. And when he asks Walter if he believes in fairy tales - and then sadly adds how there are "...no woodsmen in this world...", the connection and significance to the title hits home.
And then there's the mysterious man that Walter has named `Candy' who sits in his car and watches the passing children on their way to school. As Candy watches the children, Walter watches Candy. A previous reviewer mentioned how it `bothered' him that Walter did not contact someone. And I can see how this would bother them, but they need to realize that to an individual who had just spent 12 years in prison, and who are reminded constantly that if anything goes wrong, - or even appears to have gone wrong, they are back in prison for life usually, - the police represent images from their worst nightmare. People also need to take into consideration that the word of a sex offender is rarely - if ever - trusted, and is almost always felt to have ulterior motives. Considering that a sex offender is now a `stranger in a strange land' and has been virtually stripped of any benefit of all doubt - any contact with law enforcement is literally laced with danger. At any rate, Walter does deal with Candy - but in his own way, on his own terms.
And - the most difficult for me to write about - is the character, Robin. As I reflect on what to write here, I am in awe at the courage and sensitivity the filmmakers had to have had in this scene. But not only that - they must have put a tremendous amount of reflection into this scene, and perhaps had input from a victim or a victim's group. They obviously started out in a different direction (based on the deleted-expanded scene in the Special Features section), which brought them to a screeching halt, with Walter's line, "...and no matter what - - -, he will always love you...". [ Huh??...wait a minute....] It wasn't going to work, and I'm so glad that they fixed it. Otherwise the whole scene would have been dysfunctional, and I would have been back to my original state of skepticism. The big question here is, how do you capture on film, a scenario that happens everyday - and has been for generations - and capture it in a way that won't repulse the general public?...that won't compromise what the filmmakers ultimately were trying to do - to educate us, despite ourselves. To me, this scene represented in part the single most important, but yet totally absent ingredient to date - in our approach to sex offender and victim treatment protocols --- and that is, forgiveness - which of course would lead to the ultimate goal for all concerned - closure. In Robin's case, she needed help - but far and beyond the kind of 'help' that the police force and a judge could offer her, which is so, so very inadequate and incomplete. But revealing her victimization and acknowledging it as a very painful - but real, part of her life was a first step. And Walter needed to experience - in it's purest form possible - the pain that victims feel. He needed to come face to face with the monster - that he denies that he is to others, but most certainly fears that he may be, himself - so that he may wrestle it down. Because the simple fact of the matter is, if he doesn't - he will likely fail. The only thing I would like to point out is, when Walter reminds his girlfriend about the `poor odds' of his rehabilitation - this has now shown to be absolutely untrue. Recidivism rates for sex offenders who have undergone treatment are among the best of most criminal statistics. (US Dept. of Justice) This is especially true if they are able to rehabilitate fully, back into society (in terms of finding employment, housing and a social support network - which the public registry renders nearly impossible).
Overall, the acting was superb - which, by the way - I understand the actors were not paid for, at least initially.
Although it may seem that this reveals a lot of the movie, be assured that it barely scratches the surface. This is what is so remarkable about this film. There isn't a scene that doesn't have several layers to it. In a nutshell, if this is the young Nicole Kassell's first film, I can't even begin to imagine what a glorious future she holds in store for us! You go, Girl!...
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