The Son (Le Fils) (2002)
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Critic Reviews for The Son (Le Fils)
Audience Reviews for The Son (Le Fils)
The Dardenne brothers shy away from melodramatic flourishes: there's no music in the film, the performances are understated yet profound, and it's the gestures of the characters that are psychologically revealing--as opposed to the dialogue. "The Son" is a shrewd, highly controlled little film from Belgium that slowly builds to an unexpected emotional climax. Though distant and almost documentary-like in style, and it never stops taking us deeper into their personal lives. In other hands, "The Son" could easily have been just another straightforward revenge thriller. Olivier (Olivier Gourmet) is a carpenter who teaches carpentry to troubled teens in the juvenile criminal system learning a vocation. Olivier's routine is interrupted by the enrollment of a new student, Francis (Morgan Marinne), who becomes the object of the carpenter's inexplicable obsession. Initially, Olivier does not tell his wife Magali (Isabella Soupart) about the situation, but after careful consideration, Olivier reveals the secret to her--Francis is the teenager who murdered their child years before hand. After serving his sentence in the juvenile prison, Francis seeks to start anew, and eventually even asks the flummoxed Olivier to become his guardian. Olivier withholds his knowledge from Francis, even as a tentative relationship between the two develops. The tense scenario leads to a climactic confrontation, as the past finally catches up with teacher and student. Belgian filmmakers Jean-Pierre and Luc Dardenne visual style is claustrophobically disorientating. The camera stays tight on Olivier Gourmet--he is in almost every shot, a handheld camera films him from his shoulders up, subjecting him to a scrutiny we rarely encounter onscreen. The scrutiny pays off, for soon we're able to read into the face of this unsmiling man and an underlying sorrow. This also adds to the sense of suspense and unknowing, while the jerky camera cuts suggest his internal agitation. The film is stripped-bare, and only the essential elements remain. The true challenge posed by the film is not piecing together the story, nor teasing out its meaning, but embracing its implications in our own lives. Not that "The Son" is a "message" film - it isn't - but it is one of the most profoundly moral and human films I have seen in years. On first viewing, the films rigorous method makes for a comparatively demanding viewing. The Dardennes aren't interested in entertaining the viewer-- but in something far more valuable. The difficulty of the first viewing can become challenging, though, ultimately becomes irrelevant in light of its extraordinary rewards.
Watching the Son was an extremely interesting experience. I knew nothing what the movie was all about, except that it was from the Dardenne brothers, which I have seen some of their works before, like Rosetta and Lorna. What I got from this movie was an interesting, unique, realistic piece of alternative cinema.It showed things the way they are. Nothing was exaggerated or dramatized. Even the camera angles were realistic in the way they followed the characters. It was quite difficult to pin-point exactly what made this movie so brilliant,but a lot relied on the main character, who was amazing. He expressed so well with his eyes, and every change in emotion was visible by the look in his eyes. Throughout the entire movie the camera was focused on him, and he carried the movie through.The Dardenne brothers are good in showing the everyday life in a beautiful poetic style. I am looking forward in seeing more of their works.
The events are simple. The emotions are hugely complex.
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