By: debbie lynn elias
Theatrical director Adam Rapp marks his directorial film debut with “Winter Passing.” Although transitioning to film, Rapp’s theater roots are clearly exposed with what is essentially a three act play plus epilogue with three basic sets. Also written by Rapp, the story relies heavily on individual characterization. But where Rapp clearly makes the transition to and use of film is with some exceptional imagery that in of itself sets the tone of the entire work.
Reese Holden is a wannabe actress. Living from check to check in New York City, she supplements any meager theater earnings with that earned from bartending – or at least those monies that don’t go to support what appears to be a more than occasional cocaine habit. Angry and alone, Reese exhibits very little human contact and seems to have frozen her emotions behind an iceberg more frigid than that which took down Titanic. She is always on the outside looking in and looking on and never participating or belonging. Her only sense of personal emotion comes from her attachment to her sick little kitten (whom she also uses as an excuse for her solitude) or when she slams her hand in drawers self-inflicting pain to make herself cry.
Reese is the product of world famous award winning authors, Don and Mary Holden. Estranged from her family for several years, Reese didn’t even go to her mother’s funeral. A subject she would rather not discuss, her family ultimately becomes the focus of her life when Reese is approached by a book editor offering to pay $100,000.00 for a series of letters written between her parents when they were courting. In her will, Mary left the letters to Reese.
With her latest show closing, empty cupboards and sleazy addict boyfriend, Reese ultimately agrees to travel back to Michigan with the main goal being to get the letters and run. But what she finds on her arrival is not what she expected. Met by a Christian rocker turned carpenter named Corbit living in her childhood home, she learns that there is also a young woman there named Shelly. Her father, once a handsome, proud man, has descended into his own personal hell since his wife Mary’s death. Unkempt and unshaven, the eccentric genius now lives out in a garage, himself hidden behind broken windows and weather worn planking. The three make up the family unit that Reese believes she never had but always wanted.
Feeling even more like an outsider in her own home, Reese looks for familiar elements from her life in New York that helped her escape and hide and not feel. When she comes up empty, she is slowly drawn into the curiosity and security among these strangers that now make her house a home.
Zooey Deschanel is the very heart of this film. Her nuanced performance as Reese speaks volumes. Physically expressive, her slightest actions convey unwritten emotion and in many instances, set the tone of the entire scene. Her chemistry with Will Ferrell, with whom she co-starred in “Elf” is undeniable, and their interplay here is almost identical to that in “Elf.” As Corbit, Ferrell elicits much of humor in the film, but it is due totally to his projected childlike innocence that comes from his minimalist, basic, 1-2-3 outlook which elicits a parental tone from Deschanel. Ferrell as Corbit, shows us and Reese, the wonder of childhood and a family that she never really had. Amelia Warner steps out of the box providing us with two very different looks at Shelly – both as a mother and friend. Her maternal instinct predominates early scenes until a pivotal moment with Reese where there is a very evident shift in roles. Tacitly effective. And Ed Harris takes on a very different role as Don Holden. As the eccentric and seemingly decrepit Holden, he forces you to watch every move and listen to every syllable, as if looking for the truth.
Exceptionally strong writing, Rapp’s dialogue is key to the success of this project. In other words, this is a sit-up-and-pay-attention film and once on DVD, I guarantee you will find yourself replaying scenes and dialogue over and over again. Where things seemed out of place and gave one impression early in the film, listen closely and later on you find references on which the early scenes were based that now take on new, cohesive meaning. Prime examples involve Reese, her kitten and her mother’s letters, not to mention Shelly’s comments about Holden’s inability to write yet Reese finds him hammering away at the keys. There is an authenticity to the entire work that is inescapable.
I was particularly impressed by Rapp’s continual use of mirrored and reflective imagery shot through windows and mirrors. The thematic symbolism shouldn’t be lost on anyone. And his attention to certain details – the hygiene of his characters and how it progresses with the character’s growth and development; use of color with Reese’s clothing and make-up, exterior shots of blustery dismal grey interspersed with the serenity and beauty of a winter’s sunset over a lake – sheer perfection. The camera work was first rate and none moreso than that of steadicam operator George Bianchini.
Although tediously slow at points, “Winter Passing” has a purveyingly powerful familial dynamic from start to finish. Questions are asked and answered and life comes full circle. Winter passes and then comes the Spring. Everything always looks brighter in the Spring.
Reese: Zooey Deschanel Corbit: Will Ferrell Shelly: Amelia Warner Don: Ed Harris
Written and directed by Adam Rapp. Rated R. (99 min)
