And everything was strange and new (The Sweet Hereafter (DVD))

Member Name: TJ-Mackey

Product:	The Sweet Hereafter (DVD)
Date:	25/10/02 (446 review reads)
Rating:

Advantages: Deeply involving story, Excellent performances, Superb direction

Disadvantages: May be too slow moving for some

Back in 1997, most people were only talking about one film, and eventually it went on to sweep the board at the Oscars. Disappointing then, that the Academy, and many audiences, overlooked what was possibly the best film of that year. At first glance, 'The Sweet Hereafter' would appear to be an interesting, if somewhat slow-moving drama. However, on reflection, it is a truly remarkable piece of filmmaking.

When a school bus tragically meets with an accident on an icy road near the town of Sam Dent, British Columbia, a small close-knit community is devastated by the sudden loss of many of their children. Focussing on the aftermath of this tragedy, writer/director Atom Egoyan slowly unravels the complex fabric of the town and its inhabitants; many of whom hide secrets buried deep beneath their immediate and overwhelming grief. The arrival of a lawyer, seeking to represent the families in a class action lawsuit, only threatens to shatter the delicate balance with his promises of retribution.

Given the subject matter, 'The Sweet Hereafter' is understandably an extremely sad and tragic film; managing to stir powerful emotions without ever resorting to manipulation or sentimentality. Rather than dwelling on the events of the crash itself, the story instead concerns itself with those who survived, and those who must carry on with their lives despite suffering such a massive loss. By necessity, the structure of Russell Banks' novel - a series of monologues given by four of the central characters - had to be changed, and Egoyan's decision to interweave several different timelines undoubtedly helps in achieving this focus.

The film opens with a peaceful shot of a sleeping family - a mother and father, with their young child lying between them. At this point there is no context to the image, and immediately the scene shifts to the arrival of Mitchell Stephens in San Dent, intent on persuading the families to sign up with him
and pursue compensation. Essentially an ambulance-chaser, he seems to lack the energy required for such an undertaking, and at times it appears he is simply going through the motions. As he makes his rounds, we meet the families of some of the victims - the Walkers, who lost their only son in the accident; the Ottos, whose adopted son Bear also died; and the Burnells, whose daughter Nicole is now in a wheelchair. Mitchell also speaks with Delores Driscoll, the bus driver who once thought of the town's children as her own, and still can't quite come to terms with what has happened.

Many of the families want to be left to their grief, but by playing on their emotions and their need to assign blame, Mitchell steadily gets more people on board. He also has a more personal reason for his involvement - a situation with his daughter, Zoë, which he believes aligns him with the people of Sam Dent. Zoë is addicted to drugs, and only calls her father when she needs more money... essentially, he has lost a child too.

As we witness the lives of these people both before and after the accident, Egoyan patiently allows the narrative to circle around and around it, until when it finally does arrive, we are already well aware of its outcome. This though, does nothing to lessen the impact of the sequence, as we witness the horror and disbelief on the face of the helpless Billy Ansell as he watches the bus, carrying his two children, careen off the road and into an icy lake. The simplicity of the shot - the entire sequence is seen from a distant perspective - makes it all the more harrowing. Indeed, Egoyan keeps the audience at a distance throughout most of the film, but the sheer weight of the emotion cannot fail to pull you into the story.

Of all the fascinating characters in 'The Sweet Hereafter', Mitchell is definitely the most intriguing. Ian Holm's central performance is quite brilliant, in particular his ability to bring so much to
such a complex and troubled individual. There are many conflicting feelings and motivations beneath his exterior, and with just the slightest of facial expressions or changes in tone, he superbly lets the audience into his character. One scene, in which he tries to convince Wanda and Hartley Otto to pursue compensation, shows the duality of his situation - one minute he's desperate to direct their rage and prevent a similar accident in the future, the next he's barely able to contain his glee at winning a new client. This is the best acting performance I've seen in years, and in a later scene when Mitchell relates a story from his past in a heart-breaking monologue, I can almost guarantee you'll be moved to tears.

Other key performances come from Bruce Greenwood and Sarah Polley, although in all honesty, the entire cast is worthy of high praise. Greenwood is subtle and understated as Billy Ansell, who lost his wife a few years before and has now lost his two children as well. Polley plays an extremely important role in Nicole Burnell, who survived the crash but pays a heavy price for doing so. Ultimately, the fate of the entire town rests on her deposition.

This may well be one of the saddest films I've ever seen, but there is a life-affirming quality to the story that elevates it from depressing to something altogether more thought-provoking. I haven't yet mentioned the wonderful cinematography, or Mychael Danna's evocative musical score, but these are really elements you need to experience for yourself. Atom Egoyan has created a mesmerising and intriguing study of human relationships; rich with multiple layers that are slowly peeled back until the emotional core, and the climax of the movie, are revealed. 'The Sweet Hereafter' is not a film about a bus crash; it is about how such tragedies affect us, and how our lives must go on afterwards.

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