The plot: Five-year-old Jack (Jacob Tremblay) has lived his
entire live in the confines of a single room; the only knowledge he has of the
outside world comes from the TV in the room and what he is told by his mother
Joy (Brie Larson). They are both captives of Old Nick (Sean Bridgers), who
kidnapped Joy several years earlier. However, once the opportunity presented
itself, they finally managed to escape the confines of ‘Room’. Of course, it
was only when they were introduced and re-introduced to the outside world that
their real trials begin.
This story was inspired by the infamous Josef Fritzl abuse
case and, holy hell, it feels like it. Much like last year’s Beasts Of No Nation, the circumstances of the premise feel even darker because it is being
seen through the eyes of a child. Except here, unlike how Agu became corrupted
over the course of that film, Jack keeps his innocence throughout. As a result,
the opening scene where he says hello to each of the limited items in ‘Room’
and goes about what counts as his normal day with his mother creeps up on the
audience in how unsettling it is, and it only gets worse once Old Nick’s role
in the story is made more clear. Not entirely clear though, as there are some
aspects that are (thankfully) left up to the audience’s imagination yet are
detailed more than clearly enough through some naturally spun dialogue. As said
dialogue shows a remarkable maternal connection between Joy and Jack, helped by
some great acting from Larson and Tremblay respectively, Jack’s narration
portrays a world view that is almost crippling in how haunting it is for a
flesh-and-blood human to have such a perspective. It’s like if all the charm
was stripped from The Wolfpack and their Tarantino-influenced upbringing,
leaving only this Platonic thought experiment turned serial killer’s wet dream.
And yet, with only a minor spin, this entire story turns
into a different allegory that, with a moment’s notice, will cause me to piss
fire out of sheer irritation. The version that I am most familiar with would be
this,
although there are a lot of variations of the same idea: An ‘innocent’ story
used to try and convey how narrow-minded it is to assume that there is no
afterlife or Heaven or whatever you want to call it. These analogies MIGHT work
if one of the occupants is put in an oven for not believing as the other does,
or if everyone’s lives were lived to their natural completion or if we didn’t
have quantifiable evidence that there does exist a reality beyond where the
story in question is set. I bring this extremely soap-boxy notion up because,
with the film’s frequent mentioning of Heaven and God along with a key scene
where Joy, rather unsuccessfully, tries to explain about the outside world to a
rather petulant Jack (which is actually how some religious people view explaining
their views to those of different beliefs), this feels like it has traces of that same
hogwash. If this feels out of place, then realize that it is little thought
derailments like this that affect how I end up reviewing a film. Besides, the
film itself seems to head off those kind of farces at the pass because we
actually get to see what happens when they go into the wider world… and it is
here that things get interesting.
Within the confines of ‘Room’, the film has the air of a
domestic thriller with sprinkles of the family drama that show what Mommy could have been like if it had a
sufficient head on its shoulders. Once they exit Room thanks to a nail-biting
bit of questioning from the police, we see the after-effects that such a
confinement would have on both a younger and older mind. For Jack, it means a
chance to explore and absorb more of the world than he was able to before; he
is relatively shy at first, understandably, but he soon begins to acclimatise
and accept that the world is bigger than his bedroom. Insert joke about my own
living conditions here. It is probably his innocence that allows him to make it
out with his sanity intact; if it was Joy who was trapped in there for her
entire life and then released, that stage of development definitely wouldn’t
allow for such a broadening of horizons.
However, that’s not to say that Joy comes out unscathed
either. From what we can gleam, she was taken either right at the end of high
school or just after she graduated; five of her more formative years have been
stolen from her, not to mention having to deal with raising a child all on her
own while making him accept that his entire universe is comprised of a single
garden shed. As much as we like to view children as completely innocent and angelic, they can be right hellions on some
days; imagine being stuck with one for every single moment of their life for
five straight years with no reprieve. Mental strain doesn’t even begin to describe it. Now, all
that insecurity about whether or not she has given that child the best start
possible, along with mentally re-adjusting to her old life, is brought up to
the surface. The result is probably one of the most painful depictions of
mental stress I’ve seen, even if it is brought on by an exceptional prick of a
talk show host. Seriously, I know that the phrase gets thrown around a lot
online nowadays, but there is such a thing as trigger warnings and those lines
of questioning were definitely it. Between the both of them, we get a duality
that, even if the film dips slightly
after they leave Room, carries it all the way through to an immensely
satisfying conclusion.
All in all, this is an emotionally exhausting ride, one that
never feels like it is overreaching for every tear and shiver it gives. The
acting is fantastic, with Larson and Tremblay performing magic as the core duo
that anchors the rest of the film, the writing shows tremendous respect for the
audience and gives a real sense of discovery and just sheer dread concerning
the film’s events, and the cinematography manages to convey both agoraphobia
and claustrophobia, sometimes in the exact same scene. Even the confines of the
titular Room itself can feel both never-ending and crushingly small.
No comments:
Post a Comment