"In My Father's Den" (some P content?)

["Dennis Moore" <clayboy56>]

Movie Review of "In My Father's Den," Timothy Chow.

http://www.mediablvd.com/magazine/Magazine-Home/MBMag_20060420209.html

[I'm really curious as to the sybolism to the "father's den," more
specifially the Patti collection I suppose. ne1 seen it? read the
book? (this been discussed b4?)]

This movie took me about two years to find and I just finished
watching it ten minutes ago, but even with those built-up
expectations, I'm pretty much keeled over right now from its emotional
punch. The artistry in its prose and the manner of the storytelling is
extremely elegant and powerful, and I can only hope that the book in
which the movie is based upon is equal to, if not better than, this
film.

In My Father's Den is a 2004 New Zealand and British co-production
that tells the story of a war-weary photo-journalist, Paul (Matthew
Macfadyen), who returns back home to his native New Zealand for his
father's funeral, 17 years after he initially abandoned his home. His
sudden reappearance stirs up feelings among the small-town folk, first
from his surprised brother, Andrew (Colin Moy), and then later his
ex-girlfriend whom he left behind (Jodie Rimmer).

At first unsure about his place and role in this small seaside
community, he considers immediately leaving, but stays when convinced
by his brother to remain for a few more weeks, just to sort out the
will and sell their father's house, etc. It is also during this time
that he makes the acquaintance of Celia (Emily Barclay), a young
16-year-old girl who is smart, literary and desperate to leave this
small town home of hers. Seeing a bit of himself in her when he was
her age, they strike up a friendship, writing poems, having picnics
and visiting Paul's father's den for the collection of Patti Smith
records.

Then one day in the middle of winter, she disappears mysteriously.
Paul is the last one to have seen her after one of their weekly Sunday
chats, and after weeks of not finding her, suspicion naturally falls
upon him that he did something bad to her. As the story unfolds and
the truth surfaces, Paul is forced to recognize the choices that he
made 17 years before still continue to haunt and linger in this small
town, and that who you set out to be isn't always who you become.

Raw and emotionally honest, the film does a great job at exposing the
layers of hurt and betrayal that forced a young teenage boy to leave
his home and create an entirely new life halfway on the other side of
the world. Each character shows deep emotion, as if they're real
people and not just caricatures - feeling and hurting and still
hoping. The interaction between Celia and Paul feels genuine, and
though the story gets a little bogged down near the end (its only
specific fault), the scriptwriter always keeps strict control on the
characters and they're still always believable.

Similarly, cinematographer Stuart Dryburgh and the art direction team
do an amazing job with the filming, showing the vulnerability of the
characters in their artistic close-up shots set amidst the long shots
of the remote New Zealand landscape. The pacing is also excellent, and
though it's hard to make a mystery thriller intriguing when it's this
slow, the movie somehow pulls it off. By planting snippets of the past
with the present, and mixing the more recent present with the actual
present, there's an interesting puzzle that constantly engages the
viewers, coaxing them to come up with what happened.

Though the answer becomes a little obvious two thirds of the way in,
you can't help but admire a movie that does it this well and with such
style. A remarkable piece of work from director Brad McGann. 4 = out
of 5 stars