By: debbie lynn elias
There seems to be a rising trend of late within independent films. Bravery. Bravery and courage to cross the line, push the envelope, strip away the visual and emotional trappings of being, and reach deep into the raw, visceral baseness of character and situation. The results are some of the most intense character studies to grace the screen, giving the audience a powerful movie-going experience that, quite honestly, results in introspection and reflection on one’s own life and character. The latest such film to enter these ranks is David Pomes’ COOK COUNTY.
To say that “Uncle Bump” is one of the most despicable characters to come along in awhile is an understatement. The local meth manufacturer and dealer, in his own eyes, Bump is a public servant to the masses providing a very necessary service. And set back in the heavily wooded area of east Texas where it’s 5 miles on foot to the local convenience store and cable tv is an unknown luxury, he is correct in his belief. This area is so remote and the residents so redneck with no sense of worth or respect, and with no source of entertainment, that they want to escape, need to escape, from this side of squalor. And the easiest way to do that is through drugs. A habit not restricted to “teens” or 20-somethings, in Cook County, generations of families partake in Bump’s product and always keep coming back for more. Of course, Bump is his own best customer.
Himself a proud addict with a suspiciously fine looking set of abs that belies his drug infused lifestyle, Bump is also a father. His young daughter Deandra, together with Bump’s brother Abe, live with Bump in the squalor of his ramshackled meth lab of a house. Their father, Sonny, has been in prison thanks to his own using, manufacturing and dealing. Seeing what meth did to his father and brother, Abe is trying to clean up his own act and steer clear of drugs and walk the straight and narrow. But it’s a difficult road to hoe alone. He has to rely on Bump for a roof over his head and is thus forced to be an errand boy for the paranoid druggie, generally to buy “cooking” ingredients at the local store. Driving Abe’s determination for a better life though is Deandra whom he aims to protect at all costs from Bump. Abe doesn’t want her in the house during manufacturing or partying and he particularly wants to protect her from Bump’s violent persona. Bump, however, sees things a bit differently and wants to exert his “paternal influences” on his daughter, no matter how inappropriate or misguided, leading to his repeatedly exacting violence on Abe.
But things look to take a change for the better when Sonny is released from prison. Or do they? Returning home clean and sober, Sonny tries to take charge and help his family, but faces almost insurmountable obstacles with Bump. Trying to ease the situation, Sonny steps into the kitchen to speed up Bump’s manufacturing. But if he’s clean and wanting to change his life, why jeopardize that? And while Sonny tries to make up for lost time with Abe and his granddaughter, a balancing act of conscience ensues that leads to an explosive, life changing climax for each of the men. Just how far will a man, or father, go for his family or for himself?
Anson Mount gives a staggeringly amazing performance as Bump. If this were a bigger film, I could easily see him garnering a Best Actor Oscar nomination. A strung out, egomaniacal Charles Manson, you can’t look away from him as his intensity only serves to empower him more as the film progresses. I have never seen such a soul baring tortured hell of an existence from any actor on screen. Beyond impressive.
Xander Berkeley never ceases to provide strong, intuitive and evocative performances and here, as Sonny, he is no different. Walking a tightrope the entire film, Berkeley keeps the audience on its toes questioning Sonny’s true allegiance and true purposes. A joy to watch such nuance.
And then there’s Ryan Donowhoe. Raw, powerful and filled with emotion, he makes you feel the pain and inner turmoil Abe endures, but also the love and protectiveness of a lioness with her cub as he tries to save and protect his niece. Adding yet another layer is the wide eyed wonder he exhibits on seeing the big city and clean clothes. And talk about a beautiful moment – when he goes into the bathroom and is almost afraid to touch the marble or the faucets, as if in a dream and to touch it will make it go away. His innocence and vulnerability tug at your heartstrings. Forming a wonderful chemistry with Donowhoe is Makenna Fitzsimmons who just steals your heart as 6-year old Deandra.
Written and directed by David Pomes, the subject matter of COOK COUNTY is difficult, but told with brutal honesty both visually and through dialogue. The authenticity is beyond palpable and thanks to Brad Rushing’s cinematography and lensing, interesting camera angles exacerbate Bump’s drug induced perceptions while conveying the base emotional gravitas of the situation and the individuals to the audience. Shooting the “Cook County” sequences with a handheld camera, close-ups and containment of the camera in confined spaces inject one smack dab into the middle of the horrors of this world with such intensity it’s as if you can smell the meth-infused sweat and stale beer, feel the smoke sting your eyes and your lungs start to close with the contaminated air. A smart technical move was to shoot on Super 16mm film, giving the film a visceral, textured grain that furthers the emotional sensibilities and realities. A nice contrast to the country is the bright, clean, calm and stationery lensing of some “city” scenes where Sonny takes Abe and Deandra to his sister’s in Houston while he tries to deal with Bump. Those sequences fuel an emotional arc within Abe that lends itself well to the ultimate climax.
Not for the faint of heart or weak minded, COOK COUNTY, is first and foremost, a courageous character study of the gravest proportions, impressing on every level.
Bump – Anson Mount
Sonny – Xander Berkeley
Abe – Ryan Donowho
Written and Directed by David Pomes.
