Affliction DVD

Director Paul Schrader’s latest film is painted against a snow white backdrop, like one of those empty canvases with only a dot on it that hang in a museum. The bleak background helps put the emphasis on the dot, magnifying it to the point of distraction. That’s what Schrader has done in adapting Russell Banks novel for the screen. Set during a cold, frigid winter in New Hampshire, “Affliction” ignites the screen with powerful performances and a lit fuse of a screenplay that never lets up. The brilliance of “Affliction” is that even though you know it’s not going to be a pleasant trip, you never know where the film is headed. >afflictiondvdcover
What I appreciated most about the film was that it reminded me just how good Nick Nolte and Sissy Spacek really are. While neither has been absent from films, it’s been a while since both of them have found roles as rich and meaningful as in “Affliction.” Nolte is outstanding as Wade Whitehouse, the local law of a rugged New Hampshire town so small if you blink while driving you might miss it. Wade’s duties are basically a joke, so he fills his off hours doing miscellaneous odd jobs for town businessman Gordon LaRiviere (Holmes Osborne). Like that dot on the canvas, the toothache pain in Wade’s mouth becomes magnified with every breath. Wade would see a dentist, but he has other things on his mind. He’s engaged in a custody battle with his ex-wife Lillian (Mary Beth Hurt) while trying to become engaged to local girl Margie Fogg (Sissy Spacek). Their relationship is strained when Wade’s mother dies, leaving his mean-spirited father Glen (James Coburn, so hateful) in need of a caretaker. Margie agrees to help out, and even moves in with Wade. Just when Wade begins to think that his life is back on track, something unexpected happens. A visiting hunter accidentally shoots himself. Hunting accidents happens all the time, yet the more Wade learns about the victim and the circumstances, he suspects something more sinister. Anxious to tackle a real investigation, Wade becomes obsessed with the case. He begins to doubt his best friend Jack (Jim True), the guide who took the man hunting. With the help of his brother Rolfe (Willem Dafoe), a teacher in New York, Wade begins to piece together a conspiracy of lies, deceit and murder. The more he digs, the more Wade becomes convinced that he’s uncovered a major conspiracy. Schrader’s screenplay is a great slow burn, building in intensity until it’s almost too painful to take. In a small town where everyone supposedly knows everyone else’s business, Schrader has created mystery and intrigue. His screenplay fills in just enough of the puzzle without completing it. That leaves room for insecurity, a trait common in all of the characters. Wade feels inadequate that he’s never been able to stand up to his abusive father, and that this inadequacy will affect his relationship with Margie. Margie is insecure because she sees her life going nowhere, an insight driven home by Wade’s father Glen. You really feel for Margie, because out of all of the characters in the film, she seems less afflicted than the others. Schrader has always been at his best writing and directing movies dealing with characters who are internally conflicted. Wade could solve all of his problems by just packing up and moving somewhere else. Yet he feels destined to stay. He’s still a small fish in a small pond, but it’s a familiar pond. That’s why his pursuit of the truth seems awkward. You’re never sure if he’s doing it because he’s the law, or because he wants to be a big fish. Nolte is so perfect as Wade that through him we understand his every motivation. He wants to be a good father to his daughter (Brigid Tierney), but is so angry with life that he can’t enjoy her company. He also has a desire to be a better son to his father now that his mother is gone, but his father makes it impossible to get close. James Coburn excels as the alcoholic, abusive father who sees love as a weakness. Spacek shines as a woman who understands her limitations and yet dreams of something better. There’s both love and longing in her eyes. Her performance isn’t heartbreaking but heartfelt. I’ve always been an admirer of Schrader’s films, both as a writer and director. His characters are always interesting, if not tragic. Schrader’s screenplay skillfully works in themes like paranoia, distrust and religion, staples of his previous work like “Touch,” “Light Sleeper,” and “The Comfort of Strangers.” Like Russell Banks’ “The Sweet Hereafter,” “Affliction” deals with a small town’s reaction to a horrible tragedy. Both stories take place against a snow bleached canvas, allowing even the smallest personal detail to stand out. Cinematographer Paul Sarossy, who performed similar duties on “The Sweet Hereafter,” captures this canvas with striking detail and clarity. Sarossy manages to make this vacant canvas seem claustrophobic. The production design by Anne Pritchard completes the illusion, turning Montreal into a little slice of New Hampshire. “Affliction” is one of the best performance films I have seen this year, or last. It’s filled with interesting little insights and asides that make it feel and sound truthful. Schrader’s direction is fearless, as are the performances. You feel like you’re in the midst of greatness. “Affliction” is deservedly one of the best films of 1998.

COMPLETE CHECK-UP

VISION: [ X ] 20/20 [ ] Good [ ] Cataracts [ ] Blind

Handsome 1.85:1 widescreen transfer respects Paul Sarossy’s photography by delivering sharp, vivid images with absolutely no compression artifacts. A pristine original negative allowed whoever mastered the DVD to get the best possible transfer, maintaining the deliberate lighting that helps set the tone for the film. The DVD delivers sharp, vivid images with exceptional depth and detail, even during the smoke- filled, low-lit interior sequences. Flesh tones are absolutely honest and pure, while the colors are sincere without suffering from over saturation. Whites, which are extremely important to the film, are as clean as driven snow, while shadows and blacks are strong. Diffused lighting, snow and smoke are always tricky when doing a digital transfer, but none of those elements create a problem here.

HEARING: [ X ] Excellent [ ] Minor Hearing Loss [ ] Needs Hearing Aid [ ] Deaf

Extremely delicate Dolby Surround soundtrack. The clarity is such that you could hear a pin drop in the snow. Strong dialogue mix puts the emphasis on the characters, but the rest of the soundtrack manages to creep up on you in the most unexpected ways. Ambient noise is especially strong, making you feel like you are either in a smoky tavern or standing outside in the cold wilderness. Stereo split is effective but not definitive, while the high and low ends are clean. I didn’t notice any audible distortion.

ORAL: [ ] Excellent [ X ] Good [ ] Poor

Closed captions in English for the hard of hearing.

COORDINATION: [ ] Excellent [ X ] Good [ ] Clumsy [ ] Weak

Handsome main and scene access menus, production notes and filmographies on all of the major talent, the original theatrical trailer and web links to Universal Studios Home Video’s Internet site. Unfortunately, there are no hidden theatrical trailers in the filmographies, even though most of the talent has worked for Universal before (they could have included Nolte’s “Cape Fear” appearance, Spacek’s “Coal Miner’s Daughter” trailer, and Schrader’s “Cat People“).

ATTENDING RESIDENT: John Larsen PATIENT: AFFLICTIONBIRTH DATE: 1998

HMO: Universal Studios Home Video


Comments are closed.