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Ruth and Matt Fowler (Sissy Spacek, Tom Wilkinson) have reasons to worry about their only
offspring Frank (Nick Stahl). He has decided not to begin his university studies for a year. Instead he is pursuing his involvement with Natalie (Marisa Tomei) an older woman
with two children. She is estranged from her husband Rich (William Mapother), but he is interested in getting back together with her again. Her show of no interest puts him
into a jealous rage. The result: Frank is fatally shot. Natalie could only say, later in the investigation, that all she saw was Frank on the floor and Rich leaving, with a
gun in his hand. The grieving and inconsolate parents want the harshest punishment for the killer of their son. Will there be enough testimony for a murder charge?
In The Bedroom is
constructed with a seamless flow of events that show effectively the development of characters that draw viewers into what is happening. Editing is tight. The greatest
strength of the movie lies in the superb acting. Doing nothing spectacular but quietly and subtly emoting, Spacek and Wilkinson mirror, in their facial expressions, speech and
behavior, their deep grief. The slow pace of moments and events make the story effectively dramatic and moving.
In The Bedroom begins with a picture of a seemingly perfect middle-aged couple, but their
tranquility is shattered. The tragedy makes Matt and Ruth so humanly miserable in their loss that the audience is moved to sympathize with them. Even their relation is
disrupted as they blame each other for what has happened. Until one of them takes responsibility for being the cause leading to the incident. Though the deep sorrow of Matt
and Ruth is understandable, their grief cannot justify the drastic action—the only way they believe their loss and pain could be assuaged—that Matt takes. Taking the law into
his own hands he tries to correct a wrong with another wrong. Could he and Ruth finally have the justification and peace they long for? Can revenge put a closure to a hurting
past? Careful attention to the movie's final shots—which sometimes alters the meaning and outcome of a story—could provide an answer.
(Date reviewed: May 24, 2002)
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