PLOT: The idyllic lifestyle of a modern American Dream family is thrown into chaos when a sudden act of brutal violence turns a man into a reluctant hero.
It is remarkable how one little word in the title of David Cronenberg's new film is so crucial. This is A History Of Violence and not The History Of Violence.
The history and the violence in the film belong to one man -- one complex protagonist played with impressive, Oscar-worthy precision by Viggo Mortensen -- and not to the entire human race.
Yet, in being so specific, Cronenberg becomes universal and transforms his action-packed psychological thriller into a cerebral meditation of the nature of violence in society. The film does not celebrate violence. Instead, it profoundly questions its value, examines the triggers that set it off and chronicles the consequences of using it.
At the same time, in a series of magnificent tonal shifts, Cronenberg shows the different phases of cinematic violence. The first incident involving Mortensen's character is an explosion of sudden, brutal violence that saves the lives of innocents. It feels real. By the end of the film, the violence has become operatic in nature.
Having these elements in play, and manipulating them so smoothly, is why Cronenberg landed a Gala screening in the 2005 Toronto film festival. Today, his film opens in nine cities, including Toronto, and goes wide next week.
A History Of Violence is an American production, set in a small town in America, and based on a distinctly American story. Cronenberg worked from a screenplay by U.S. writer Josh Holden, who adapted it from a graphic novel by John Wagner and Vince Locke.
But it is easy to argue that Cronenberg brings a unique Canadian perspective to the piece, and not just because he shot the film in Toronto. There is an outsider's perspective in operation, a refusal to accept that being able to own a gun is a U.S. constitutional right and an outgrowth of the revolutionary spirit. Cronenberg plumbs the depths of violence to unearth the flaws in all of us. American violence is an example, not the only focus.
This exercise unfolds in a subtle fashion. On the surface, the film appears to be a routine Hollywood thriller. Mortensen's life is thrown into chaos after he kills two thugs who threaten customers in his town diner. Initially, Mortensen becomes the town hero and media celebrity, however reluctantly he assumes the role. Quickly, however, there is another price to pay, as Phillie gangsters (a one-eyed Ed Harris and a fireballing William Hurt in brilliantly demonic performances) become involved.
Explaining too much would be a spoiler. Suffice it to say that the fabric of Mortensen's perfect family is shredded. And it is stunning to watch that process because of the sophisticated way that Mortensen creates his anti-hero in tiny, incremental steps (which let us forget The Lord Of The Rings). Known for his research and dedication to his craft, Mortensen makes that dedication pay off handsomely here.
Just as impressive is Maria Bello as the wife. She peels away mask after mask to get at raw nerve endings that create a heroine of rare vintage. Ashton Holmes and Heidi Hayes are crucial and convincing as the two children caught in their parents' struggle.
So Cronenberg did the extraordinary -- he transformed a genre piece into a work of art.
BOTTOM LINE: Toronto filmmaker David Cronenberg offers an action-packed drama -- his most mainstream, most accessible film. But, of course, it is much more layered, sophisticated and brilliant than it first appears.
(This film is rated 18-A)
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