Movie Review: The Savages (2007)
The Savages (2007)
*****
Rating: R
Run Time: 1 hour 53 minutes
Stars: Laura Linney, Philip Seymour Hoffman, Philip Bosco
Writer/Director: Tamara Jenkins
“We are horrible, horrible people,” cries Wendy Savage (Laura Linney) in the parking lot of her father’s new nursing home. “Horrible, horrible, horrible people!”
But committing her elderly dad, a dementia patient, to fairly congenial care isn’t the worst of it: What’s really horrible is that her partner in this decision, her older brother, Jon (Philip Seymour Hoffman), cannot bring himself to comfort her. Instead, he stands stiffly beside her in the frigid air, his eventual, awkward attempt at a hug rebuffed.
Both siblings inThe Savages — writer-director Tamara Jenkin’s uncannily insightful and uncomfortably funny glimpse at a dysfunctional family in crisis — are achingly awkward. And though they’re both around 40,their childhood rivalry is always gnawingat the edges of their conversations.
Two of the screen’s finest actors, Hoffman already has one Oscar and Linney one nomination. In The Savages their performances ring so true that you not only worry about how Wendy and Jon will resolve their immediate problems; days after seeing the film you find yourself wondering how they’re doing now.
Wendy temps and writes un-produced plays; Jon is a theater professor perpetually at work on a Bertolt Brecht bio. Neither has a family. Their psychological growth, it seems, was stunted by their depressive mother and abusive father. As the film opens, the siblings are jarred from their mildly dysfunctional, self-centered lives to care for their estranged father, played by Broadway legend Philip Bosco, perhaps best known to TV audiences as a judge on Law & Order.
With a heavy sigh and a sad shake of the head, Bosco touchingly embodies the once-overbearing father’s slow acceptance of his greatly diminished powers — but the old man betrays no recognition of the damage his earlier actions inflicted on his children. Still, as the siblings display needling, grudging affection for each other as they struggle with their shared burden, they also seem to find for their father a measure of forgiveness. In the process, brother and sister take baby steps towards becoming more compassionate and connected people — qualities they never learned under the weight of their deeply flawed parents.
Jenkins’ script involves a lot of mansplaining as the guys in Wendy’s life feel the need to remind her of what is real. “We are not in a Sam Shepard play,” Jon tells Wendy. “It’s not like we got The Blue Angel going on here,” a beau later scolds her. But in the end, it is Wendy’s refusal to accept the real life she had been settling for that moves her — and her brother — past the stunted reality that was their father’s unfortunate legacy. The Savages is less about growing old than it is about growing up.