Tomei finds herself between Spacek and Wilkinson in awe, reflecting that very emotions, the project cannot be seen with the naked eye.
Field’s field is a battlefield. An ongoing war that doesn’t get any chance to think or reminisce about mistake. But mind you, this war goes on exhaustingly for the first act. After which, the director, Todd Field, is letting you sink in, the choreography of the battle, tantalizing you for more than, the leftover, one hour. Split into three acts, the introduction is all jazz-like smooth. From paraphrasing the intentions and behaviors of the characters, the thrill comes in expensively and gasps heard in every house of the lane. And the last act, is challenging the smoothness of that first act. Close call, gets a whole new definition and nail-biting situations, well.. bite away.
But personally to me, the stillness captured in the middle act of the film, that helps transcend this drama into thriller, is more inspiring and brainy. The elements are trailed across like bread crumbs that builds quite a pyramid to later climb upon. Now, the performance. A crucial part to a film. As all do, but this one’s exceptionally impressive. Sissy Spacek as the pain bearer and apparently creator, her body language can whimper even Tom Wilkinson’s performance.
And hovering around, trying to please his partner, and find solace on the way through pursuing tiny glimpses of hope, Wilkinson is quite the challenger to Spacek’s non-verbal answers. Yet, I find myself jumping on Marisa Tomei’s side. To be on her place has got to be the worst pickle you find yourself in. Still her presence is warm and soothing, even when she is taking a hit or nodding to the comfort given to her. Her performance is perfectly balanced, tip-toeing across the bridge of guilt and horror, she is ripped apart In The Bedroom, garden, workplace and every last piece of land.