Desperation in `Ball' transcends racism
By CHRIS BANNISTER
Scene Movie Critic
"Monster's Ball" is not the feel good movie of the year. There is perhaps no aspect in it that leaves the audience with a positive outlook. However, it is a beautiful piece of film art. It is both austoundingly well written and well shot, and for those reasons, it cannot be denied consideration as one of the better films this year.
The film centers on Hank Grotowski (Billy Bob Thornton), a prison warden in Georgia. He is overseeing the execution of Lawrence Musgrave (Sean Combs), a convicted murderer. Although most might rightly be wary of a film that has P. Diddy amongs its cast, Combs fulfills his role adequately.
Trouble begins to erupt when Hank's son (Heath Ledger) makes an error before the execution. The error and ensuing argument lead to a disastrous consequence that leaves the viewer shocked.
Of course, the relationship between Hank and his son is never presented as a perfect one. In fact, it is so sick and twisted that it often leaves the viewer in disbelief. But as uncomfortable as the interaction between these two may be, one cannot deny the skill in both the conception and execution of the roles.
Thornton, especially, brings a subtle sense of being somewhat uncomfortable with himself, his actions and his prejudices. This sort of meekness and social awkwardness brings lighter moments into the film's darkest scenes. It also draws on some of the audience's sympathy towards Thornton as an antihero. This idea of creating even the slightest bit of sympathy towards such ignoble characters is what makes the film such a great work. The interaction between the characters tends to leave the audience at the same time laughing, crying and shifting uncomfortably in their seats. It makes viewers react in ways that most films do not.
The real heart of the story is presented when Thornton, through a tragic chance encounter, meets Leticia Musgrave, (Halle Berry), the widow of the recently executed man. The two begin to fall in love, and this brings a host of issues with which the pair must contend. Both characters must somehow deal with the tragic pasts they each have, and Hank must deal with his own history of racism.
Again, when discussing the pair falling in love, one must not expect a traditional romantic comedy; they come together to medicate each other's pain more than anything else. However, the rejection of the typical Hollywood norm is what makes "Ball" such a stand out.
The cinematography is the film's finest aspect. First, it is shot with a gritty approach that matches the tenor of the story and characters. Make no mistake, however; this is no "Blair Witch Project." Nothing is done by accident. Within the overall realist grit of the film, an interesting visual tension is established as light and shadow are used to their fullest artistic potential. Characters are constantly moving in and out of shadows, letting the darkness hide their tragic pasts from each other. The light becomes a player because it is able to communicate a great deal about each character, allowing the film to be more subtle in its development.
This subtlety is what saves the film from becoming a typical rumination on Southern prejudice.
Today, audiences like it when the film's emotions are clearly expected. They cry when Julia Roberts loses the man, and they cheer when she gets him back. "Monster's Ball" will settle for no such simple path. It approaches the viewer almost confrontationally. However, because it is a film that excels in almost all aspects, the challenge it presents is one worth taking. -- Four shamrocks (out of five)
Contact Chris Bannister at cbannist@nd.edu.
All Scene Stories for Thursday, February 14, 2002
