By Sherilyn Connelly
By Inkoo Kang
By Carolina del Busto
By Alan Scherstuhl
By Melissa Anderson
By Aaron Cutler
By Amy Nicholson
By Alan Scherstuhl
The dispute at the heart of House of Sand and Fog concerns the occupancy of a rundown little bungalow near the northern California coast. It's not much of a place, really. And to get a glimpse of the Pacific you'd have to climb up to the roof and stand on tiptoes. But for the two combatants in what escalates into a tragic battle of wills, the house comes to mean everything -- a root and anchor, self-worth, the very notion of home and stability. Those guys in the gold blazers down at Century 21 will love it. This is the kind of emotional merchandise they're selling, after all -- not mere boards and bricks.
After being endorsed in 1999 by Oprah Winfrey, who can make (or break) a literary reputation with a few of her not-so-well-chosen words, the Andre Dubus III novel that spawned this film became a fixture on the bestseller lists, a National Book Award finalist and, if we believe half the hype, the greatest masterpiece of American literature since Herman Melville went whale hunting.
Good for it, but let's not go overboard here. Directed by an unknown Russian immigrant, Vadim Perelman, who has been shooting commercials for Nike, Microsoft, and General Motors, and inhabited by a pair of awfully good movie actors -- Jennifer Connelly and Ben Kingsley -- this House is built a bit more modestly than Winfrey's all-or-nothing bombast might have prepared us for. That's a good thing. A little restraint was in order. Perelman provides a moment of meaningful silence here and there. He gives us Ben Kingsley decked out in a full-dress military uniform, staring dolefully at himself in the bedroom mirror. He encourages us to stop and think.
Meet the antagonists: in the blue corner, Kathy Nicolo (Connelly), a recovering alcoholic unhinged since her husband walked out. The little house her father left her practically falls down around her. But the place is home, has always been home, so when sheriff's deputies show up to evict her for unpaid taxes, she's bewildered and angry. In the first place, she doesn't owe any taxes: That's a bureaucratic error.
In the red corner, Massoud Amir Behrani (Kingsley), an aristocratic former army colonel who fled his native Iran when the ayatollahs came to power. Even though he's now shoveling asphalt on a construction site, he remains elegant and willful, and he means to restore the well-being of himself, his wife (Iranian star Shohreh Aghdashloo) and his teenage son, Esmail (Jonathan Ahdout).The first meaningful step is to buy the bungalow for a song at public auction and turn it into a New World version of the vacation bungalow the family once owned on the Caspian Sea.
Native entitlement is destined to collide with immigrant yearning, and in that clash we get an ambiguous look at the American Dream. We also get top performances from two wonderful actors. For Connelly, this part is a natural synthesis of the doomed junkie she played in Requiem for a Dream and the loyal wife of A Beautiful Mind. Kathy claws after what she knows is hers, what she needs to survive emotionally, and her battle moves us. But we also feel for Kingsley's dignified but disenfranchised immigrant. "Today God has kissed our eyes," he tells his family on the day he buys the bungalow.
The wild card in this unhappy affair is an unstable cop with serious marital problems, one Lester Burdon (Black Hawk Down's Ron Eldard). At first, Lester means only to help Kathy out, but as his obsession with her grows, a sleazy side emerges and he sets a crisis into motion. A careful and observant first-time director, Perelman gradually reveals the details of cultural misunderstanding, self-destructive rage, and wrong-headed desire that turn a legal wrangle over a modest house on a quiet street into a tragedy. Kingsley, Connelly, and a promising new writer-director bring Dubus's book to vivid, aching life on the screen -- a drama of dreams dashed, opportunities squandered, and hopes transformed into horror.
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