The plot: Jeannette Walls (Brie Larson), now a successful
businesswoman, reminisces about her childhood. Specifically, being raised
alongside her sisters Lori (Sarah Snook) and Maureen (Brigette Lundy-Paine) and
her brother Brian (Josh Caras) by their mother Rose Mary (Naomi Watts) and Rex
(Woody Harrelson). As she recollects her family’s secluded and rather destitute
living conditions, and sees her parents’ current living conditions, she has to
come to terms with what they did to her and her siblings, both the good and the
bad.
Larson is ideal as our focal point performance, getting
across all the bubbling rage and sheer exhaustion of her character brilliantly,
same with Ella Anderson as her younger self. Snook works alright as part of the
larger family dynamic, but honestly, I think Olivia Kate Rice as her own
younger self actually makes for a stronger on-screen presence. She manages to
match and even exceed Anderson in a few scenes, coming across as part of the
core that is just barely holding everyone together. Josh Caras fits in well
along the same lines, as does Brigette Lundy-Paine, and Max Greenfield as
Jeannette’s fiancĂ© works very well as the outsider perspective on just how
messed up this all is.
And speaking of messed-up, time to get into the parental
figures. Harrelson ends up giving one of the best performances I’ve seen from
him yet, getting across so much broken psychology with the right amount of
self-talk justification to create a person that might be fun to hang out with
at a party but an absolute nightmare as far as regular contact goes. Watts does
unsettlingly well as the artistic enabler, breezing through all the arguments
and even the sweeter moments between her and Harrelson so easily as to make it
seem real. And that on its own is terrifying. Oh, and Robin Bartlett as the
grandmother is somehow even more beastly as a “”””caregiver”””” (yeah, it’s
that bad) but it’s what the role requires of her and she does very well in that
mode.
This has to be one of the most messed-up families of any
film I’ve covered this year, if not ever.
And what’s more, the film doesn’t even attempt to hide just how unhealthy
everything that we’re seeing is. Going through several years of the family’s
history, we are shown a collection of increasingly monstrous decisions on the
part of Rex and Rose Mary that can make a person rather queasy while watching
it. Decisions like Rex trying to teach Jeannette how to swim by literally
throwing her into the deep end. Repeatedly. Or how the children frequently go
hungry. Or how Rex and Rose Mary’s definition of “adventure” means “anything
that could pose a threat to your life”. But more so than the actions depicted,
it’s how it is justified by the perpetrators that makes the skin crawl. It’s
that perfect blend of guilt tripping, intimidation and good old fashioned
gas-lighting that allows the very articulate Rex to just wring those around him
for everything they have. It is textbook bad parenting but it doesn’t read like
an actual textbook; rather, it feels like something ripped out of a real-world
example of toxic caregiving. Namely, because it actually is.
So, with all that in mind, why the hell is this film’s tone
all over the goddamn place? Interspersed with all this delightful fucking
imagery, we keep getting moments of unabashed whimsy like Rex letting the kids
pick out stars in the sky for their Christmas presents or the endless talks
about the titular Glass Castle, a magnificent house that Rex keeps saying that
he’s going to build one of these days. If this had Tideland-esque framing in
place, where the true horror of the situation comes out of how it is processed
through a child’s innocence and lack of understanding, these
touches would feel like they have a place in the story. But no, the kids are
consistently adamant about just how horrible their living conditions are.
That’s part of what makes the film as watchable as it is: The fact that even
children this young can tell that something is wrong, furthering the year’s
trend of unnaturally strong kids in harrowing situations. To say nothing of the
film’s conclusion, where it honest to Dude tries to make us sympathise with
Rex, even with everything he has done in mind. Given this film is the only
instance where I legit wanted to punch Woody Harrelson in the face, you can
guess how well that turns out.
But that’s kind of the problem with really personal stories
like this: No matter how strained familial connections can get, they are still familial connections. No one
person’s close relationship with another will be entirely bad or entirely good.
We’re just too complicated a species for that to be the case, even in scenarios
like this. And no, I’m not necessarily talking about Stockholm syndrome or
anything along those lines; I’m talking just in terms of how family members can
affect a person over the course of their entire lifespan. When we see how
Jeannette reacts to everything around her, both the past and the present, it’s
always a very heady mixture of stomach-churning and a bout of laughter to break
the tension. Contextualising real people is always a difficult task, and one
that a lot of families have to deal
with at some point when it comes to time to finally say goodbye to them.
I’m
starting to seriously ramble here, but the point I’m trying to get at is that this
film’s tone being everywhere at once? That still has some power to it. It may
cut into the seriousness of what’s going on, but at the same time, it also
shows that relationships like this are very
complex creatures. It’s easy enough to say that all of this is incredibly
troubling from the outside, but from the inside? Where you get the complete
array of connections to the person in question? Where, regardless of how they raised you, they still helped
make you the person you are today? Where this is a retelling of actual events,
from the perspective of someone at the centre of it all? Cutting through that
isn’t so easy.
All in all, this is almost cruel in how depressing and
uncomfortable this is. The acting is top-of-the-line with a lot of standout
performances, the writing is unrelenting in how it depicts an incredibly
troubled family, and even with the myriad of mindfragging that goes on
throughout to the point where it’s unclear how angry the audience should be
while watching all this, it still taps into feelings involving family that are
insanely intricate to begin with. There’s definitely a better movie to be made
out of this story, one with a lot more focus and a better grip on presentation,
but I can’t say I hate this. Like, not even remotely.
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