SAFE PASSAGE
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 6.0
Date Released: 1/6/95 (wide) Running Length: 1:38 Rated: PG-13 (Mature themes, language)
Starring: Susan Sarandon, Sam Shepard, Robert Sean Leonard, Nick Stahl, Jason London, Sean Astin, Marsha Gay Harden, Matt Keeslar Director: Robert Allen Ackerman Producer: Gale Anne Hurd Screenplay: Deena Goldstone based on the novel by Ellyn Bache Cinematography: Ralf Bode Music: Mark Isham Released by New Line Cinema
SAFE PASSAGE opens with an eerie sequence of blurred faces, off-color images, and an inexorable, building darkness. It then explains this creative bit of photography as a mother's "premonition dream" about one of her seven children. While this may function as an effective tool to introduce all the characters, it comes across as unbelievably contrived, and doesn't get proceedings started on a solid footing.
When SAFE PASSAGE works, it does so because it dares to be more honest than most similarly-themed dramas. When it fails, however, which it does nearly as often, it's because the story falls back on cliches and formulas.
At the core of the picture is yet another cinematic dysfunctional family. Mom (Susan Sarandon) and the youngest of her seven sons, Simon (Nick Stahl), have decided to move away from Dad (Sam Shepard). They're in the process of packing when news comes of the terrorist bombing of a U.S. Marine compound in the Middle East where one of the boys, Percival (Matt Keeslar), is stationed. The sudden crisis brings the family together. In addition to the parents, Simon, and a pair of twins, there's Alfred (Robert Sean Leonard) and his girlfriend Cynthia (Marcia Gay Harden); college student Gideon (Jason London); and Izzy (Sean Astin), who's trying to determine the reason why his father suffers blind spells.
For three days and two nights, the Singer clan reminisces, argues, talks, and hopes, while waiting to hear whether Percival is dead or alive. Outside the front door, the media hovers, ready to pounce on anyone who emerges. And still there is no definite word....
As occasionally involving as SAFE PASSAGE is, there's really nothing special or memorable about either the story or the performances. It's not that the actors do bad jobs--they're all quite competent, in fact--but no one stands out. There's nothing here that dozens of others in Hollywood couldn't have done as well.
One of the strengths of SAFE PASSAGE is its willingness to permit conversations to go on beyond the expected "motion picture" length. Not only does this lend an air of verisimilitude to what the characters are saying, but it sometimes leads to a deeper understanding of motivations. This script has no fear of wordy dialogue.
On the other hand, the plot is littered with worn-out conceits. One character dozes off while another is making a painful confession. Home movies are dragged out to rekindle memories and heighten guilt. And there's the big catharsis scene where the entire family bonds--in this case, it happens during an impromptu cleaning of the garage.
The presence of so many characters is probably a mistake, because no one gets the screen time necessary to be developed beyond the sketch stage. While it's always pleasant to see accomplished performers like Sarandon, Shepard, and Leonard, SAFE PASSAGE doesn't give them much chance to show us anything new.
The premise is interesting, and there's a fair amount of promise in the subject matter, but somehow, the movie never quite meets expectations. Not enough pieces are missing to automatically disregard SAFE PASSAGE. It may be a fairly mundane film with lapses of unoriginality weakening its moments of insight, but there's still something oddly compelling about this group of oddball characters crammed together in front of the television, watching and waiting.
- James Berardinelli (jberardinell@delphi.com)
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