By: debbie lynn elias
Almost 20 years ago, Susan Sarandon read for one of the lead roles in the classic, “Kramer vs. Kramer” which would have pitted her against Dustin Hoffman as the embittered wife embroiled in a child custody suit. Although her read was emotional and moving and despite the chemistry between Sarandon and Hoffman and his desire to work with her, she lost the part. Today, however, Hoffman finally gets his wish to work with Sarandon as their chemistry blazes onto the screen in the season’s first real tear-jerker, “Moonlight Mile.”
Written and directed by veteran Brad Silberling, “Moonlight Mile” is inspired by Silberling’s own life and the loss of his love, actress Rebecca Schaefer, at the hands of a psychotic fan. In death and its aftermath, Silberling became even closer to Schaefer’s parents and as a result, the experience of grappling with the grieving process and carrying on with life, became the basis for “Moonlight Mile.”
Set in 1973, “Moonlight Mile” is the story of Ben and JoJo Floss and Joe Nast, parents and boyfriend of the deceased Diane Floss, and their journey onward in life after losing Diane. Initially, we are unaware that someone has died. Only through subtle clues in the dialogue do we learn of Diane’s death at the hands of a crazed gunman, giving the filmgoer pause to believe that we will be faced with another courtroom drama spinning the tale and picking apart the lives of the main characters. But, surprisingly, even joyously, such is not the case.
Silberling spends a great deal of time on character development, showing us the individual idiosyncracies that not only make each character special in their right, but help explain the grieving process each undergoes. Ben, at a loss over losing his daughter, tries to make Joe into a replacement child as his son, even going so far as to encourage him to join him in the family business as a commercial real estate developer. Joe, on the other hand, lives in an upstairs bedroom in the Floss house, refusing to leave the house, seemingly stuck in idle, only going through the motions of existence. JoJo, always the wit in the family, uses that wit and her sarcastic “honest” tendencies to deal with grief, her family, and the seemingly insensitive and unfeeling friends and relatives who stumble and bumble as they react to the family, Diane’s tragic death and the entire funeral process.
No words can describe the emotional depths created by the performances of Hoffman and Sarandon. They are both riveting and heart-wrenching, laden with not only a parent’s frustration over the loss of a child, but the loss of time, of life and the guilt over not being able to protect that child. Their chemistry together is obvious and they exude the ease and comfort of an old married couple in their emotional “handling” of each other as they push the envelope just far enough so as not to push each other over the edge. There is no doubt that these are Oscar worthy performances.
Jake Gyllenhall is mesmerizing with his portrayal of Joe, dark and troubled yet mournful but confused as he begins to have feelings for another. Newcomer Ellen Pompeo shines as Bertie Knox, a young woman whom Joe meets at the post office and again at a bar. It seems that Bertie too, has suffered a loss. Her boyfriend has been classified as an MIA in Viet Nam for over three years. In a nice departure from the accepted boy meets girl, they fall in love and help each other get over their losses plot line, Silberling uses Pompeo’s considerable talents, going for visual emotion and vulnerability as opposed to dialogue, creating a heartfelt and sincere scenario.
Not to be overlooked, Holly Hunter steps into the fray as District Attorney Mona Camp, prosecuting the alleged gunman. As with her performance in “The Piano,” Hunter once again says more with her eyes than any dialogue could ever reveal. Practical, logical and stoically unemotional in her handling of the case, Hunter lets her character’s true feelings rise to the surface with just a mere glance – a talent not often seen in actors today. Don’t be surprised is you see Best Supporting Actress Oscar Nominee next to her name the coming months.
And as an added bonus to this already wonderful work is a soundtrack that not only compliments the story, but reflects our nation and its people in the turbulent times of the Viet Nam War.
Death, an event that can only be described as depressing at best, is far from that in the hands of Silberling and this talented cast. “Moonlight Mile” takes you on an emotional journey, showing different types of grieving that all end in the same place – a place of hope and strength, pointing us into the future rather than the past.
