Turfseer

(2013-05-01 19:30:26)

Often slow-moving, but sensitive take on gay parent's gambit during child custody case

'In the Family' is producer, writer and director Patrick Wang's firstfeature which focuses on the conflict between a gay parent, Joey, whohas lost his partner, Cody, in a car accident and Cody's sister andbrother-in-law, who gain custody of Joey's six year old child, Chip,after it's discovered that the deceased partner never updated his will.'In the Family' feels like it's based on a real-life story but Wangindicates he got the idea from his dealings he had with a civil rightslawyer. A lawyer figures prominently in the action of the last third ofthe film played by an excellent Brian Murray, who basically uses his'people skills', to successfully re-unite Joey with the child, who waslegally 'abducted' from him.The film's major shortcoming is that it's almost three hours in lengthand sometimes moves at a glacial pace. That's because director Wang hasa fondness for long takes. Sometimes they work: when Joey learns ofpartner Cody's death, the camera fixates on Joey from behind, standingin shock at the hospital, and the full import of the tragedy is felt,despite the lack of any sound on the soundtrack. Other times, onewishes that Wang employed a little bit more judicious editing, to movethings along a tad bit more briskly.Wang does an excellent job in humanizing his protagonist, Joey, thewell-adjusted Tennessee contractor, who ends up bewildered by theselfish actions of his in-laws, who take his child away from him,without regard to the feelings of a man who has been a good father forsix years. We can infer that sister-in-law Eileen's decision to takeChip away from Joey is based on her disdain for his homosexuality. Theprejudice against Joey extends to the community-at-large, manifested bythe multitude of attorneys who refuse to take his case. There's oneexcellent scene where Joey is referred to an attorney by a friend whoturns out to be anything but sympathetic. He tells Joey, "that kind ofstuff" (meaning gay relationships with their attendant sexual mores),will be rejected out of hand by any Judge in the State of Tennessee.'In the Family' ends on a happy note, after Joey offers to restore anold book for kindly retired attorney Paul Hawks (Brennan). Hawksreminds one of the homespun Judge, Joe Welch, who presided over theArmy-McCarthy trials during the 50s; he's drawn to Joey, and willing tocome out of retirement, since he can see this is a decent man who hasbeen wronged. Hawks smartly avoids dealing with the Tenneesse judiciarydirectly and manages to convince Joey to proffer up an unusual gambit:in exchange for a deposition, Joey is willing to cede the houseformerly owned by partner Cody, which he's been living in, since hisin-laws allowed him to stay there, following Cody's death.The deposition is really an opportunity for Joey to plead his case tohis in-laws, and for them to realize that they were all wrong aboutJoey, and what kind of person he is. The attorney for the in-lawsattempts to impugn Joey's character by emphasizing that he acted out asa twelve year old while in a reform school, but that behaviorbackfires, as both Eileen and her husband realize that their attorney'sbehavior was inappropriate.All's well that end's well, when Joey is reunited with Chip at film'send. Presumably, the bitter recriminations between both partiesinvolved, have been resolved, and Joey will at least have visitationrights, if not getting to act as Chip's regular father, again.'In the Family' ends up as a sensitive meditation on an unusual childcustody case. Creator Patrick Wang shows real talent for coming up witha very realistic plot as well as directing all the actors (includinghimself) with great sensitivity. If you're willing to put up with slowpacing in spots, you'll be rewarded with not only a grand plea for'tolerance' but a strategy for reconciling deeply estranged familymembers, who at first glance, have little chance of re-establishingcommunication with one another.

cgillis-226-389598

(2013-05-01 02:44:40)

A character study with an original and powerful theme of justice

This is an original, quietly powerful first movie by Patrick Wang. Atrue work of art, showing the power of moral justice over legaljustice. The climactic scene in the 'courtroom' is amazing. Joey'sachingly simple openness is how I want to be. I didn't find itpolitical, or PC or non-PC. It's just (just! how rare) a story aboutsome good people having to resolve important conflicts.If I have a criticism it is that the sound was muddy and there was alittle too much 'sound design'...footsteps, table settings, etc. weremuch too noticeable; voices not so clear.And yes, it could have been a little tighter in the first half -somewhat slow.But these are minor cavils about a wonderful film

interbini-1

(2013-03-16 09:19:02)

Groundbreaking, heart moving film.

Patrick Wang focuses the image in a way that allows the viewer toimagine the other spaces not shown on screen. He also carefully selectseach frame to reveal or obscure what is relevant to each moment. I haveno other term for it but 360 degree acting. And included in this actingensemble are architecture, objects, sounds, the movement of dust.What startles too is the amount of time taken to get to know people. Ican tell that the actors know this time will be taken, that theirportraits will unfold in a more natural way because I saw them relaxand actually find responses that at times startled them (themselves).Perhaps this is the greatest homage to actors an actor/ director/writer can give.In the accumulation of moments, I felt like I knew this house, I knewwhat it was to spend time with these people, with this young boy'Chip', and so when moments such as the trial opened up or we see Joey(Wang)'s shoulders and back of head while he's making a book, emotioncame up in me in a subtler way. My experience was less one of spectatorand more one of someone who was a friend of this character. At onepoint, I did utter aloud in reference to Chip, 'please let him comehome' in my living room viewing this film all by myself!I was reading an interview with Alexander Payne in Film Commentrecently and he said something like 'we have no idea yet what a filmcould be'. I think that Mr. Wang has taken his opportunity and reallyproduced something he himself understands and we all must see. I'mthrilled that the film has been made.

Batmanispierce

(2013-03-15 12:08:16)

A Movie for Everyone "In the Family"

There is a fine line that has to be walked whenever talking about gayrights in a film and Patrick Wang walked it like a champion. In theFamily is a story about a father, played by the director, Patrick Wang,who loses his life partner, played by Trevor St. John, in a tragic caraccident and is left alone with their son, Chip. The movie is a truework of art from beginning to end. There is so much said in this movieabout what family is and what it means to be family. In the Family alsotakes a deep look into what is love, how you should mourn for a lostloved one, and how to get back to the normal routine of life. PatrickWang breaks new ground in getting himself and his actors to display thetruest emotions that make up the very core of what it means to behuman. As the film progresses, you can see a change in all thecharacters as they try to adapt to life once again. The cinematographyof the film is so simplistic that it makes the movie all the more realand beautiful, almost as if the audience is poking their heads into thelife of a man who is thousands of miles away. This emotionally touchingfilm deserves all of the praise it has been getting and it candefinitely be said that In the Family is one of the most movingAmerican indie of this year.

Scott Eriksson

(2013-02-27 12:38:40)

The stuff Academy Award winning films are made of...

Many critics could argue, perhaps convincingly, that "In the Family"could be edited from its almost 3 hours to 2 hours, however, the pacingof the film doesn't suffer from its length. And by taking time todevelop the almost mundane everyday life of a gay couple raising ayoung son, the film is actually a bold political statement that speaksdirectly to every person who thinks being gay is somehow a non-stop sexfest. Because of that, the film makes a very strong point even beforethe issues at the heart of the movie become front and center. It's afamily friendly film where sexual orientation is almost an afterthoughtof the movie and that is what sets the tone and makes itgroundbreaking. That is a long winded way of saying that anyone whothinks the film should fit into a typical 2 hour movie formula, ismissing the depth of the story and the emotional impact the pacingcreates.Many Asian-American actors would say they hate doing accents becausethey are connected with stereotypical roles, but Patrick Wang'ssouthern accent probably wasn't what Asian-American actors had in mindand in this case it is a testament to Patrick's incredible actingabilities. I am one who thinks directors should direct and not alsotake on the demand of acting in their own films because both cansuffer, but Patrick Wang's acting and directing are both amazing. Hehas embraced this film heart and soul and it's evident in its emotionalcomplexity and perhaps this is a case where it could not have been assuccessful without Patrick in both roles. In the film the downward spiral starts with the confrontation betweenJoey (Patrick Wang) and Chad's sister over the will and is a rivetingscene that doesn't leave the viewer rooting for anyone, but actuallyfeeling the pain and the point each is making about the circumstances.But for Joey it is the most devastating because everything in his lifeis gone overnight; his partner, his child, and his home. The lonelinessand destruction of his life is powerfully and beautifully created byPatrick's acting and directing making this a heart wrenching film thatshouldn't be missed. And the film's conclusion? Emotionally brilliant.

jnshaffer12

(2013-02-27 01:23:37)

The only thing stronger than fear is hope.

I found this film nothing short of amazingly moving. Patrick Wang blewme away by not only writing the film, but also directing, producing,and starring in it! It is a movie about love and struggle and fightingfor what you know in your heart. I enjoyed the film because it didn'trush things, it took its time in letting the characters as well as theaudience comprehend the situations as the story unraveled. It is saidthat, "The only thing stronger than fear is hope," and if there's oneway to show that, its through this movie. Not only does the maincharacter, played by Wang, have to deal with being gay in this day inage, he experiences even more turmoil as he continues to lose thoseclose to him. It's a film about believing in hope to pushing yourselfto the limit until you can't any longer, but making sure not to loseyourself along the way.

etslee

(2013-01-24 16:52:40)

A unique and moving experience

This film is certainly not for everyone, at almost 3 hours length, withminimal soundtrack and mostly static shots. But I sat riveted until theend, as did most of the audience in the theater.The plot sounds melodramatic: a gay Asian man fights for the custody ofthe son he shared with his deceased lover. But writer/director PatrickWang, who seems clearly influenced by the understated Yasujiro Ozu andAng Lee, avoids the easy moral conflicts. Instead, he focuses on thedaily lives of mostly average and good hearted people. There are nostereotype villains here. Instead of a Hollywood court battle, we havean almost documentary like deposition meeting that still manages to bedramatic and emotionally true.The cast is uniformly terrific, especially young Sebastian Banes asChip and Brian Murray as the lawyer. Certain quietly powerful scenesstill stay with me, like the kitchen scene post-funeral and Chipreplaying the audiotape of his father's voice calling his name. PatrickWang will be a talent to follow!

Jim Chevallier

(2013-01-24 01:42:50)

Touching, surprising, important - but way too long

This is a distinctive film with a distinctive leadactor/director/writer, one that will probably be cited in future yearsas his first imperfect effort. It addresses an important issue - theuncertain rights of gay survivors - head-on from an unexpected, veryindividual point of view. Joey Williams, the southern-accented, low-keyAsian protagonist, is a tremendously loving person - loving not only tohis partner and their son (strikingly and adorably played by SebastianBrodziak), but to others around him. As we learn his back-story as afoster child, this understated readiness to love becomes all the moremoving. When he finds himself alone and having to fight for his son,his dilemma is all the more moving because he is clearly a person who,without being weak, sidesteps confrontation. His manner throughout isendearing and very specific, even as he encounters, in the most off-handed way, chilling and heartless homophobia at one of the mostdifficult moments of his life. The "issue" is certainly front andcenter here, but we care about him first and foremost as a person -luckily, since we spend far more time with him than one usually wouldin a film. There are also unexpected gestures of kindness and concernall through the film, one on the part of a Wise Man who appears fromthe most unexpected corner and reminds us that, even as Joey strugglesfor the right to be a father, he remains a tender soul in need of afather figure himself; at different moments, a glass of whiskey and aglass of water, each quietly offered, make it clear that he has foundone. The film's unhurried pace often serves it well - one of the mostmoving sequences involves methodically taking out a beer and opening it- but there are also moments that are plain slow and others which keeppushing at a point that has already been made or linger overmuch onhistory. The film overall should have been at least a third shorter. Bybeing as long as it is, the film actually dilutes the very realintensity of its central contemplation of family and its meaning. Butthese are flaws in an overall excellent film, one which is rarelypredictable and often quietly surprising, above all very warm and humanall the way through. Its low-key quirkiness, by the way, includes oneof the more off-the-wall bits of product placement to be seen in anindie film, one that will delight the handful of fans who know and carewho wrote "Wild Thing". As gracefully integrated as this is, one getsthe sense that the director/writer knew the songwriter and wanted, asmuch as anything else, to help him out; a gesture which sums up thefundamentally loving nature of this entire project.