Sling Blade directed by Billy Bob Thornton:
The real impact of Sling Blade lies in the way the movie draws the audience into sympathy with Karl, the “mentally retarded” protagonist who has spent 20 years in an institution after murdering his mother and her young lover. As the movie opens, Karl is released as “cured”, and winds up befriending a young boy and living with the boy and his mother. At the end of the film, Karl coldly and mechanically kills the mother’s abusive boyfriend, in order, as he sees it, to save the boy and the woman from eventual harm.
Throughout the film, Karl appears to be a figure embodying simple goodness. As a result, there is a temptation to see his final act in the light of self-sacrifice and justice. That is the heart of the matter, because if we do see it that way, we have been seduced into applauding the brutal murder of a man who is clearly not the embodiment of evil that Karl is led to believe. The boyfriend is sinister, hypocritical, and verbally abusive, but we never see him involved in any serious violence – certainly nothing like Karl’s total of three dead! We see the boyfriend blustering, insulting, but also apologizing, cowering under a barrage of objects thrown at him by the boy but declining to fight back, and generally presenting the dismaying picture of an oppressive and chaotic future for the family, but he is not the demon we may take him to be if we take our view from Karl and others. The demon lies in Karl, and the boyfriend is there to distract us from that fact. There are delicious clues: e.g., Karl’s repeated comment that he has read the Bible and understood a good bit of it, but “not all of it”. The parts he does not understand point to what is missing in Karl and completely undercut the too-easy assumption that his pre-emptive violence is morally laudable.Karl kills with the blade of a lawnmower – one of the machines that in his “idiot savant” mode, he is so expert at repairing – and at that point, we may realize that Karl is himself a machine, defective in moral reasoning, and programmed to kill by many remarks made by the other characters about the victim.
Karl’s identification with the young boy becomes, in retrospect, another warning. He means the boy no harm; he loves the boy. But it is a boy’s imperfect judgment that moves Karl. The boyfriend very obnoxiously puts his lover’s son in his place on several occasions (“We are the grownups, you’re the child…”, or words to that effect). But there is truth in what he says, and value in being able to distinguish the message from the messenger. This “irony of moral misdirection”, by tempting us to embrace an attractive moral error and then making us reconsider when we follow the attractive embodiment of that error right into the slaughter house, may serve to clarify our principles. Note the passivity with which the boyfriend faces Karl’s announced intention to kill him, note the man’s last word, which we hear just before the blade falls (he calls Karl’s name, softly, probably a strangely gentle supplication: a chilling contrast to the thunk of the blade), and note Karl, his duty done, calling the police and sitting down to enjoy some biscuits. A clever and effective movie.
Monster’s Ball directed by Marc Forster:
Monster’s Ball refers to an old English term for a condemned man’s last night on earth, and Marc Forster’s tale of a white man and a black woman whose worlds have been shaken and tossed awry, eventually finding solace in each other, is not an easy watch. The subject matter for one: three generations of Southern bigots sharing a house brimming with a legacy of violence and hatred, a monster’s ball ending with an execution (we’re not spared from details), and other tragic circumstances which round out the story.
Hank Grotowski (Billy Bob Thornton) is the son of Buck (Peter Boyle), who has inherited his father’s racist stance, and the generational job of Death Row prison guard, handed down as well to Hank’s son, Sonny (Heath Ledger). Sonny isn’t cut out for all the hatred and balks in the midst of the green mile walk. Tragedy ensues, and here’s where Hank’s life takes a redeeming turn for the better. He meets Leticia (Halle Berry), the local late-nite diner waitress, and they begin a relationship, based not on romance or happiness, but on desperation and pain. Hank’s conversion from hardened, unfeeling bigot to considerate, sensitive lover in light of Leticia’s on-the-edge, oppressive loneliness and poverty makes for compelling moviewatching and Halle Berry delivers a first-rate performance. Yet the script suffers from massive shifts in character development (read Hank’s) which are not quite believable, and despite important subjects addressed (racism, the inhumanity of the death penalty) the story doesn’t quite resolve the patchwork of scripting holes in an otherwise courageous and praiseworthy film.
-Mr. Thornton Goes to Hollywood
-A Roundtable Discussion with Billy Bob Thornton, Dwight Yoakam, Mickey Jones and Producer David Bushnall
-A Conversation with Billy Bob Thornton and Robert Duvall
-A Conversation with Robert Duvall
-A Conversation with Billy Bob Thornton and Composer Daniel Lanois
-The Return of Karl
-On the Set
-“Doyle’s Dead” with Introduction by Billy Bob Thornton
-Behind the Scenes
-Music For the Film
-On the Set