Keane (Damian Lewis)
Wednesday, November 29, 2006
This is the review that led me to seek out this film and I could not phrase my feelings towards the movie any better. It is a review from my site Indie Cult by a friend, Cory Mailliard:
Lodge Kerrigan’s amazing Keane begins with its main character at rock bottom. With nowhere else to go, the audience is left to watch helplessly as he begins to chip away at the concrete to get even lower. Endlessly fascinating but not exactly what you would call entertaining, Keane is the kind of film that will be viewed by critics and masochists only (though I’m sure there’s a considerable amount of overlap).
We find William Keane (Damian Lewis) wandering around a bus terminal, desperately searching for his missing daughter. We are given little back-story, but we gather that she disappeared at this terminal while under his care months before the film begins. Still, he wanders around, asking any stranger who will listen if they have seen his daughter. Hopelessly, he asks a cashier if he remembers selling William a ticket months ago. He will finish the day screaming her name at passing cars before he falls asleep in a ditch.
For such a small, intimate film, Keane displays a surprising amount of momentum. The first half-hour, during which William spends much of the time muttering to himself in a drug-fueled frenzy, is explosive. When a Lynn (Amy Ryan) and her young daughter, Kira (Abigail Breslin), enter the picture—just when we wonder how, exactly, Kerrigan plans to keep up with the film’s tiring pace—Keane changes gears.
The sudden appearance of Lynn and Kira forces a jarring change of perspective. From this point on, the success of Keane depends entirely on how well Kerrigan and Lewis have sketched William Keane. Were he not a truly multi-dimensional character, the audience would scoff at scenes of an obviously deranged William acting as a surrogate father to Kira. It’s telling that despite William’s instability, we never believe that he is a danger to her. There is an amorphous quality to Keane; a sense that Kerrigan is working to constantly redefine the audience’s perception of the title character. The film is restless—constantly approaching from new angles, looking for cracks to burrow into.
Keane is amazing not just because it is a nearly perfect character study, but because it offers a preconception smashing look at illness and depression. Lewis’ performance is fearless—the stuff that awards should be made of. And it’s a good thing, too, because for just a minute there, I was sure Dreamcatcher would ruin the guy’s career.
It is a hard film to watch. That much is without question. But Keane is also a reminder that art was made to plumb the deepest, darkest depths and that when it does so honestly, the results can be both difficult and hypnotizing.
Posted by FofR
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