By: debbie lynn elias
According to the Merriam-Webster Dictionary, divergence is defined as moving or extending in different directions from a common point as in drawing apart, or b
ecoming or being different in character or form as in differing in opinions, or turning from an intended path or course. All of these definitions are befitting writer-director Patrick J. Donnelly’s latest feature film, DIVERGENCE.
Tim Lawson has returned home to the cold winter of the northern New Jersey shore to recuperate. A helicopter pilot suffering a severe leg in Iraq, he awaits medical clearance before facing his inevitable return to the front. Essentially alone, Tim’s father is in a convalescent home suffering from Alzheimer’s. His childhood friend Dave, is one of the few guys left around, but his primary interest is his social climber girlfriend Lisa and having a few brewskis pushing Tim to talk about the “good old war”, something Tim is clearly not comfortable with and that is clearly causing him emotional trauma. At night, he falls asleep to the gunfire and battles of Iraq playing on the nightly news.
Clare O’Neil is a woman lost. Hiding in the darkness of her Jersey beach bungalow, she surrounds herself with vodka and cigarettes, emerging from the darkness of her life and her home into the darkness of night. Her pain is evident. A face streaked with watermarked tears of black mascara, she is as a much a ghost as the family members for whom she mourns; a husband and daughter killed in an auto accident. According to EMTs, they felt no pain on their death. Clare, however, feels theirs and hers. 
Two lost souls, one on the path of death and destruction, the other on the path of indecision trying to avoid death and destruction, Tim and Clare ultimately meet when Tim saves Clare from an apparent suicide attempt in the icy December Atlantic Ocean. It is this meeting that sets DIVERGENCE in motion.
Jakob Hawkins tackles the pivotal Tim Lawson. In his most expansive role to date (prior screen credits include bartender and waiter), Hawkins’ tacit hesitancy is compelling and gives weighty credibility to the character of Tim. Personally knowing many military men in my day, especially those who have experienced the horrors and rigors of first hand combat, the reclusiveness, desire for calm and quiet and lack of desire to “regale” war stories that Hawkins brings to the character, resonates an often unacknowledged truth. I found this aspect of his performance well executed, compelling and intriguing. Traci Ann Wolfe, also in her biggest role to date, is not as effective with her portrayal of Clare as her counterpart is with Tim, except when her character ultimately starts to emerge from the darkness. Once the characters of Tim and Clare are finally thrust together on screen, Wolfe’s performance blossoms, also with an effectively tacit hesitancy.
Written and directed by Patrick J. Donnelly in his second outing as such, the film is an ambitious work. While one needs to be in the proper mind set for this film, from the aspects of cinematographic and character development, it is exemplary. As far as the script itself goes, from the standpoint of Clare, the story drags out too long, taking some 90 minutes to provide answers to questions surrounding her backstory. And it takes 85 minutes for our two main characters to ever connect on screen. Thankfully, Donnelly’s stunning cinematography (yes, he’s a triple threat here) is more than sufficient to
hold one’s interest. Shooting in 16mm with Super 16mm processing, his stark contrast of black and white when dealing with Clare, and his outstanding photography of the overly white sand, the blue, blue water and sky, and the orange (although it looks more red than orange in the film) sand dune protection netting is absolutely breathtaking. Clearly, Donnelly is a fine cinematographer and that’s what he should keep pursuing. His use of the Atlantic as a setting is also a nice touch. The strength and fury of the sea balanced with the serenity and solace of a nighttime calm set against the dynamics of Clare and Tim is quite beautiful. The one big technical downside – every scene cuts to black and then a new scene emerges. No fades or dissolves, just blackscreen between each scene which adds unnecessary length and distraction to the project.
This is one story that is interesting enough with characters compelling enough that I wouldn’t mind seeing what’s become of Tim and Clare a few years from now. I hope each has found peace after this DIVERGENCE.
Tim Lawson: Jakob Hawkins
Clare O’Neil: Traci Ann Wolfe
Written and Directed by Patrick J. Donnelly. (114 min)
