Movies about violent, shy people with deep psychological issues are always fun. However, they’re usually about those people killing other people, and eventually being taken down by someone fairly good-looking and sensible. Red Dragon springs to mind. So it’s nice to see one that actually allows the disturbed person in question — Barry Egan (Adam Sandler) — to find a niche in the world for himself, and the love of someone who understands.

So it’s a happy film? Well, yes, mainly. It’s also a pretty convincing look at how incredibly screwed up you’d be if you grew up with nine domineering sisters. The scene with Barry at a family do was the one for me that convinced me, after a slow and peculiar start, that I was enjoying the film. Anyone who has ever been talked about at a family function will sympathise.

It’s also a film that explores paranoia, to an extent. Barry’s initial forays into seeking help are met with failure and then disaster, when a phone sex operator (the wonderfully sleazy Philip Seymour Hoffman — I wondered why I was thinking of Red Dragon) attempts to extort money from him by sending a bunch of thugs after him. But once he finds Lena (Emily Watson — dammit, this is a Red Dragon reunion) he knows he has something stronger in his life to support him.

I should really mention Adam Sandler at this point. I’ve never been a particular fan of his movies, but he’s always shown promise as an actor. This film allows him to play the kind of character that he’s often played before — but for real, and explore what that means. And he does it brilliantly. Emily Watson also shines as Lena. There’s been some criticism of their relationship — why does Lena love Barry? Well, this wasn’t a problem for me. This criticism stems from not empathising with Barry. Barry’s violence may turn some away, but I felt it was portrayed realistically and understandably enough to make you feel sorry for him rather than scorn him. And who hasn’t wanted to beat up a bathroom every now and again?

The music is quirky, unsettling, and perfect for the film. The direction is magnificent also — the early scenes with the piano organ on the road are incredible — if a little long. But certainly when Barry rushes through corridors, trying to find Lena’s door again, you know there’s something special going on behind the scenes.

This film may bore some, and unsettle others. It certainly isn’t one that you’ll just enjoy without questioning. But personally, I found it worthwhile — and incredibly truthful.

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This entry was posted by the illustrious Tom Charman on Sunday, April 20th, 2003. It concerns such pressing issues as . You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.