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If Yuval Adler, the film’s co-writer/director, had pitched his new film as “”Death and the Maiden” meets”” Leave It to Beaver,” I have no doubt that is exactly what he ended up with, at least conceptually.
Those who remember the film “Death and the Maiden” will recall that the story revolves around a traumatized woman played by Sigourney Weaver who comes face to face with a man she believes tortured and raped her during a previous repressive regime in an unnamed South American country. She then kidnaps him and attempts to coerce him into confessing to his crimes; he maintains his innocence throughout. It’s 1959 in a small-town United States of America. The year is conveniently fixed on a movie theater marquee, which also features advertisements for “North by Northwest” and “4D Man.” A new refinery has just opened, and local physician Lewis (Chris Messina) is delighted to be able to check up on the new employees.
Maja (Noomi Rapace), Lewis’ wife, notices one of the laborers and has a nervous breakdown as a result. She follows the man (Joel Kinnaman), whom she recognizes as “Karl,” as he walks away from the plant, barely pausing to consider her actions. She gets out of the car and walks up to him, slapping him in the face with a hammer as she does. “I love it when a plan comes together,” as the character on the television show put it. She loads the hulking man into her trunk (don’t ask me why—it could be that super-adrenaline thing that causes moms to lift entire cars off their children or something) and drives him into the house, where he takes up residence in the basement.
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When she informs Lewis of this, he immediately folds like a cheap suit and joins her as a collaborator. The reasons for her determination to extract the truth from her captive are revealed in flashbacks. When she and her sister were attacked by German soldiers during the war, Maja was raped; her sister, who had also been raped and murdered, was also killed. She recognizes this man as the perpetrator of her assault 15 years after the fact.
The Secrets We Keep Quiz
This film examines troubling issues in the most unhelpful way possible, and it succeeds. Its approach to character is significantly less nuanced than that of the EC Comics horror stories that the film frequently resembles in tone and content.
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Rapace does not appear to be phoning in her performance in any way. However, the way she glowers, paces, stomps around, and says things like “You will never see your family again” so frequently recalls her role as Lisbeth Salander in the 2009 film “The Girl with the Dragon Tattoo,” that she can certainly be credibly accused of doing it all via Skype is a legitimate possibility.
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And, while Chris Messina is a capable comedic actor, he is completely out of his depth in this film. The dialogue devised by Adler and collaborator Ryan Covington does nothing to alleviate the situation. “We were supposed to do everything together!” he screams as he returns home from work to find Maja’s captive with fresh wounds. “You tortured him while I was away?” I exclaimed. When Maja hears this, she says, “Do you consider that torture?” “You really liked your mom, didn’t you?” says a character in Brian De Palma’s “Dressed to Kill.” It’s the most inadvertently funny movie dialogue I’ve heard since, I believe, the deathless “You really liked your mom, didn’t you?” line in the same film.
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Kinnaman does his best with a character who appears to be beyond redemption (“Sure, he SEEMS innocent, but you know how shifty those Nazis can be,” as the film repeatedly emphasizes), and Amy Seimetz gives credibility to the role of the husband of the missing man. However, the morally reprehensible conclusion—which, in retrospect, appears to be the entire point of the film—makes the entire endeavor a complete and utter waste of time.
For more personality quizzes check this: Bohemian Rhapsody Quiz.
