Movie Reviews: Sweet Virginia
Sweet Virginia
directed by Jamie Dagg
Every now and again I watch some of the true crime re-creation shows on the Investigation Discovery cable channel. Trashy I know, but I blame one of my cousins for introducing me to this stuff. As she jokes if I ever come up missing, thanks to her experience with this channel she'll know where to start searching for the killer. One of the homicide detectives whose case work is recreated on the show is a very deadpan fellow. He points out, and I doubt that he originated this bromide, that people are quite predictable. The detective says that when people kill someone it's usually for one of just three reasons, sex, money or revenge. Find the motive and you'll usually find the killer pretty quickly. Sweet Virginia is a noir drama that shows the truth behind that saying. Sweet Virginia is a very dark film. I don't mean in terms of subject matter. I mean that the director has chosen both a color palette and sound levels that can make it challenging to both see and hear what's taking place. This makes sense if only because everyone in this movie has secrets and hidden agendas. They aren't necessarily truthful with themselves let alone other people.
The other thing which was notable about this movie was that it was something of a throwback to classic films of the sixties and seventies. There were a lot of long unhurried takes showing people engaged in mundane everyday activities. From time to time there would be something referenced that later proved to be critical, but this was rarely done in such a way that the viewer would pick up on it immediately. Or perhaps I should write that this was rarely done in such a way that I would pick up on it immediately. You may well be ever so much smarter and perceptive.
In any event it's fair to say that although this movie is only a tad over ninety minutes it feels longer. I wouldn't call it slow moving but rather deliberate. It takes its time. Watching this movie made me realize how much I've gotten used to the dumbed down sped up story lines more closely associated with Hollywood blockbusters. That's a bad thing I think. So it was nice to have something that would painfully stretch my attention span back to its normal length, even if occasionally I wondered if two minutes of someone looking into a mirror was really necessary. The actors and actresses got to stretch themselves here, even though, or perhaps because everything is so realistic.
As mentioned this movie is very dark visually. I can't remember too many bright scenes. Much of the action takes place at night. And the scenes that don't are usually under overcast days. This movie is set in Alaska though some (most? all?) was apparently shot in British Columbia. The outdoor views are magnificent. You'll want to visit, though you'll probably want to avoid any card games. The film opens with three friends in a closed diner about to start up their weekly card game and discuss very important top secret manly man things. These plans are temporarily put in abeyance when a stranger who we will later know as Elwood (Christopher Abbott) enters the diner and orders food. Rather disturbingly he knows the name of one of the men and where he works. The men order Elwood to leave. He does that, but then comes back and kills all three men.
Sam Rossi (Jon Bernthal) is a former rodeo star and owner of a local motel. He's not strictly speaking physically disabled but he does have a limp, headaches and the beginnings of Parkinson's Disease. Sam is both emotionally withdrawn and super kind once you get to know him. But he doesn't let most people get to know him. Sam is processing some serious and permanent personal loss. The only people he does let inside his circle of trust are Maggie (Odessa Young) his front desk clerk and daughter substitute and Bernadette (Rosemarie DeWitt) a shapely woman newly widowed by Elwood's actions. Bernadette and Sam have had a long time thang going on. Now that her husband is dead Bernadette doesn't see any reason to hide her lust love for Sam any more. Bernadette wants commitment. She's just being honest when she talks of not having cried over her husband's death. And one night when Sam wants to do his normal wham bam thank you ma'am and bounce, Bernadette's response is both poignant and realistic, not ideological. Even though both Sam and Bernadette are doing wrong the film's writing and direction posits them as morally complicated people. Sam may love Bernadette or Bernie as he calls her but he isn't necessarily crazy about her making goo-goo eyes at him or touching him in public.
Elwood comes to stay at the hotel. Although he murdered three men, he was only supposed to murder one. A local woman hired him to commit murder. Lila (Imogen Poots) grew tired of her husband. She wanted the money from his businesses and insurance policies. She'll pay Elwood from those proceeds. The intensely dangerous Elwood recognizes Sam as a former rodeo star. To the extent that he can Elwood, who has trouble befriending or even talking to people, attempts to befriend Sam. Sam is not used to this. And even while Elwood is trying to hang out with Sam, he's also making it clear to Lila that he wants his money. Now. This film slowly and skillfully ramps up the dread, intensity and emotional volatility of the main characters. This may not be a profoundly original story but then again as mentioned, people commit murder for the same reasons over and over again. This film has some things to say about honesty, regret, lack of love and evasion. If you have some patience this slow burn of a movie could be worth your time. In some respects this is an updated Western.
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