LITTLE ODESSA
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 8.3
U.S. Availability: limited release 5/95 Running Length: 1:38 MPAA Classification: R (Sex, violence, brief nudity)
Starring: Tim Roth, Edward Furlong, Moira Kelly, Vanessa Redgrave,
Maximilian Schell
Director: James Gray
Producer: Paul Webster
Screenplay: James Gray
Cinematography: Tom Richmond
Music: Dana Sano
Released by Fine Line Features
LITTLE ODESSA, the stunning feature debut of 24-year old writer/director James Gray, is about to become the victim of distributor politics. As a result of recent changes in upper management, Fine Line Features has chosen to limit--if not completely withdraw--support for this film. Considering the strength of the material, the adeptness of Gray's direction, and several memorable performances, this is a classic case of cinematic injustice. LITTLE ODESSA deserves to be seen by as many movie-goers as possible, not just those living in the few locations where Fine Line choses to release it.
At the focal point is Joshua Shapira (Tim Roth), a deeply-troubled, emotionally detached hit man who has come home to Brooklyn to commit an assassination. Although difficulties in his past make it dangerous for him to be seen near Brighten Beach, the real impediment to a return is his father, Arkady (Maximilian Schell). For, while Josh loves his dying mother, Irina (Vanessa Redgrave), and his younger brother, Reuben (Edward Furlong), there is nothing but antipathy between father and eldest son. Nevertheless, left without a choice, Josh ventures back to the Russian/Jewish community, and eventually encounters all the members of his family. While there, he also hooks up with an old girlfriend, Alla Shustervich (Moira Kelly), a young woman who is reluctantly attracted to the lonely killer.
LITTLE ODESSA is an extremely complex motion picture, layered with powerful themes and fascinating characters. The dysfunctional family dynamic is examined from a different perspective--this is a case of the best intentions gone awry. The film's ending has a strong allegorical, as well as dramatic, impact. Not only is the final sequence emotionally crushing, but it slams home a vivid and telling message about prices paid by both the innocent and the guilty for crimes within the community. And the consignment of a Jewish body to an oven calls to mind a chilling association.
At the opening of LITTLE ODESSA, Josh is in a hell of his own making. During the course of the film, there are opportunities for redemption and love, all of which are rejected. Josh has no emotional capacity; when he makes love to Alla, the act is passionless and mechanical. He is unable to respond to his brother's simple offer of devotion. He cannot cry when he faces his dying mother. Only his father provokes a reaction, and that is a decidedly negative one. By this performance, Tim Roth adds yet another impressive credit to his resume.
Equally as complex is Josh's tormented, self-pitying father--a man who has lost all authority over his household and his existence. Assimilation to the American way of life is a continuing struggle for someone like him, born and raised on traditions and values that his children don't share. Arkady loathes Josh as much as he hates himself. He has a mistress, but feels guilty about not being with his dying life. He is educated, yet is forced by economic circumstances to run a newsstand. He loves Reuben, yet his actions seem always to hurt his younger son. Maximilian Schell, an accomplished actor who hasn't had much screen exposure in the past few years, encourages in viewers a mixture of resentment and sympathy.
Moira Kelly, despite the most limited screen time of a member of the primary cast, turns in one of the best performances of her career. Her confusion, self-doubt, and conflicting feelings for Josh, as well as her recognition that the relationship is doomed, add a subdued poignancy to Alla that less skillful acting would not have conveyed. Edward Furlong, a young actor gaining presence with each new role, somewhat underplays Reuben, but not to the point where it interferes with the story. Vanessa Redgrave does her usual fine job.
The violence of LITTLE ODESSA is brutal, quick, and always shocking. As in SCHINDLER'S LIST, scenes of bloodshed are presented graphically, but never gratuitously. The deaths in this film, when they occur, cause a momentary contraction of the viewer's stomach muscles. This is a credit to the director, who has a clear vision and uses all the tools at his disposal to attain those ends.
Because of the richness of the subject matter and the complexity of the characters, gangster movies, especially those with strong ethnic overtones, make excellent vehicles for social commentary. LITTLE ODESSA is the latest example of what such a film can accomplish. With an emotional impact as strong as its intellectual appeal, LITTLE ODESSA is deserving of a far better fate than the one Fine Line Features has consigned it to.
- James Berardinelli (jberardinell@delphi.com)
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