HOLLOW REED
A film review by James Berardinelli
Copyright 1997 James Berardinelli
RATING (0 TO 10): 8.5 Alternative Scale: ***1/2 out of ****
United Kingdom, 1997 U.S. Release Date: 5/97 (limited) Running Length: 1:46 MPAA Classification: No MPAA Rating (Violence, sex, mature themes) Theatrical Aspect Ratio: 1.66:1
Cast: Martin Donovan, Joely Richardson, Sam Bould, Jason Flemyng, Ian Hart, David Calder, Edward Hardwicke Director: Angela Pope Producer: Elizabeth Karlsen Screenplay: Paula Milne Cinematography: Remi Adefarasin Music: Anne Dudley U.S. Distributor: Cinepix Film Properties
Angela Pope's HOLLOW REED is one of the most striking, forceful films to emerge onto the American art house scene so far this year, but, like many powerful motion pictures, it can be extremely difficult to watch. In examining how the physical abuse of a child affects an already-broken family, HOLLOW REED doesn't pull any punches, literally or figuratively. And, while the beatings aren't as graphic or brutal as those in another recent domestic violence motion picture, ONCE WERE WARRIORS, they're all the more wrenching because, in this case, the victim is a ten year old boy.
Yet, if HOLLOW REED's sole subject matter had been child abuse, it wouldn't have been as provocative or challenging. In crafting this film, however, Pope and her screenwriter, Paula Milne, have followed an ambitious agenda -- expose the multi-faceted pain of domestic violence and show how the courts discriminate against gay men in any custody battle. Lawyers and judges can mouth polite platitudes about how sympathetic they are to the plight of homosexuals and how everyone has the right to do what they want "in the privacy of their own bedroom," but, when it comes to handing over a child into the custody of a gay father, the deep-rooted ugliness of homophobia rears its head. Equality is a word that everyone loves to speak, but, in today's world, there are times when it remains a distant fantasy.
Part of the reason that HOLLOW REED is so punishing is that it's told from a child's point-of-view. That child is Oliver (Sam Bould), a quiet, introverted boy who seems to be the perfect son and student. He's a STAR WARS fan, and spends hours in his room playing with Luke Skywalker action figures and remote-controlled cars. His parents are divorced, and their relationship is far from amicable. Oliver lives with his mother, Hannah (Joely Richardson), and her boyfriend, Frank (Jason Flemyng). Meanwhile, Oliver's father, Martyn (Martin Donovan), an out-of-the-closet homosexual who shares a home with his lover, Tom (Ian Hart), has only the right of "reasonable access" to his son.
The film opens with Oliver arriving at his father's door late one evening with a bleeding, bruised face. Although Oliver claims that he was beaten up by a group of local thugs, Martyn has his doubts. Days later, when the boy shows up at school with a crushed hand, Martyn goes to the police, requesting that they investigate whether Frank has been abusing his son. He then instigates a custody lawsuit, with the intention of taking Oliver away from Hannah if she doesn't kick Frank out. And, as the case goes before a judge, all sorts of ugly truths about society's perception of homosexuals are unveiled.
Relating the story from Oliver's perspective allows us to better understand the fear, confusion, and self-blame that the child experiences. Physical damage isn't the only byproduct of abuse; it has deep-reaching psychological ramifications as well, the effects of which can be far more lasting. Oliver's reasons for not telling are complex, and HOLLOW REED makes his silence on the subject seem completely rational under the circumstances. Oliver loves both of his parents, so we see them in a sympathetic light. Understandably, he doesn't like Frank, but, while the movie casts him in the role of the villain, it manages to humanize him to a degree, offering a motivation for his actions. The easy route would have been to present Frank as a sadistic, faceless monster; Pope rejects that cliched path.
As Oliver's situation becomes more precarious and a legal resolution remains hanging in limbo (the courts want to investigate further, and Oliver's stubborn silence robs Martyn of his only witness), frustration grows. Desperate to appear "clean" to the court, Martyn asks Tom to move out, then reconsiders when he realizes the hypocrisy of that desire. He also considers illegally abducting Oliver and going on the run. His impotence ratchets up the level of tension that Pope works so hard to create. HOLLOW REED isn't meant to be a thriller, but the tone is darker and more ominous than is typical for a drama.
Both Martin Donovan and Joely Richardson do fine jobs as Oliver's parents. Richardson (Disney's live-action 101 DALMATIANS) arguably has the more difficult role playing the torn woman who doesn't want to believe a horrible truth that is becoming increasingly more evident. Oliver's silence allows her to remain in blissful denial. Donovan, a Hal Hartley favorite, portrays a man who, despite having the moral high ground, is powerless to save his son. The key to Donovan's performance is that it starts out low-key. That way, as the situation becomes increasingly desperate, he never seems over-the-top. However, all of the adults, including Richardson, Donovan, and the fine supporting cast, are outacted by young Sam Bould, who captures the essence of Oliver without a hint of the confusion and awkwardness that sometimes marks child performances. Bould has many memorable moments -- hiding under a work bench so that Frank won't find him, preparing to defend himself with a chisel, and bravely enduring the punishment that Frank dishes out.
What starts out as a "simple" tale of child abuse widens into a damning expose of the essential hypocrisy of a "civilized" society -- how certain, "normal" wrongs are tolerated. To save his son, will Martyn have to live a lie? And, if he remains true to himself, will that continue to place Oliver at risk? In life, there are no easy answers, and HOLLOW REED is nothing if not an accurate mirror of reality. This is not the sort of motion picture that's likely to find favor with the "feel good" crowd, but, if you aren't afraid of a movie that is capable of challenging convictions and wrenching emotions, HOLLOW REED makes for an unforgettable two hours.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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