“Through the eyes of a child” tends to evoke a sense of innocence. Lenny Abrahamson’s adaptation of Emma Donoghue’s novel Room, with a screenplay by Donoghue herself, makes use of this premise in the most extraordinary way: presenting deeply horrific events from the perspective of a child so that the viewer understands both the innocence and the experience. Abrahamson’s subtly intense direction creates a vibrant cinematic world, where Ethan Tobman’s production design of walls, appliances and furniture become a landscape as encompassing and immersive as any city or forest. Director of photography Danny Cohen lenses the film with an intimacy that is both hopeful and harrowing, the viewer never losing sight either of the appalling situation or the indomitable love that sustains Ma (Brie Larson) and Jack (Jacob Tremblay). Larson’s various awards for Best Actress are richly deserved, as she delivers a performance of strength, resolve, confusion and fragility, always captivating and never less than convincing, while Tremblay is equally impressive. Room succeeds in drawing the viewer into its unique world, ensuring that we constantly share the experience of Ma and Jack, an experience that reduced me to tears several times. The resulting experience is moving and enthralling, traumatic yet life-affirming, from this intricately designed, sublimely presented, exquisitely painful story of love.
[…] 1. Room (15 January 2016) […]
[…] Room […]
[…] delivers on that promise. It is not much more than that, lacking the emotional rawness and truth of Room or the scares of The Others, but The Little Stranger is still a nicely constructed Gothic […]
[…] mentioned in my last post, The Little Stranger was underwhelming. Although director Lenny Abrahamson captured a very British sense of reserve, the film failed to generate much tension or societal […]