FORTY SHADES OF BLUE

US, 2005, 108 minutes, Colour.
Rip Torn, Dina Korzun, Darren Burrows, Elizabeth Morton.
Directed by Ira Sachs.

This is a character study which makes demands on audience patience. Moving slowly, it builds up a picture of an unusual set of characters and asks us to empathise (not always sympathise) and to try to understand them.

The film provides a tour-de-force opportunity for veteran character actor Rip Torn. He plays a modern American good ol’ boy, a loud, self-confident long-time producer in the music industry. The world is certainly his oyster and that is his presumption.

Married a number of times, he now has a younger companion from Russia, whom he met on tour. They are the loving parents of a young boy. In the meantime, he has become alienated from his adult son who comes to visit on the occasion of his father’s receiving a life award.

While Torn gives a strong performance, part quiet and domestic, part rambunctious and melodramatic, it is Dina Korzoff (who appeared to great effect in the British film about migrants, The Last Resort) who focuses the film. Hers seems to be a rather passive performance. She does not always say a lot – and makes us realise how hard it can be for people speaking in a second language to find the exact word or phrase, or even the right intonation to communicate what they wish. While anchored to the child, she is also adrift in the American city, something of an appendage to her celebrity companion.

The arrival of the son, who has marriage tensions of his own let alone the strained relationship with his father, precipitates an emotional crisis for her and the need to make some kind of decision about her life and her future.

Many audiences may find this character exploration straining their attention but for those who like something which is evocative rather than explanatory, it should work well.

1. Acclaim for the film, awards, Sundance Drama award? Mixed responses from the public, those interested in the portrayal of human nature, those finding this portrayal tedious?

2. The Memphis settings, the details of the house, on the banks of the Mississippi? Life in Memphis, homes, bars, clubs, shopping…? The musical score, as the background for a film about music?

3. The title, indication of the blues, the different characters, the title as applying to each?

4. The screenplay as a series of portraits, the complexities of life’s interactions, Alan, Laura, Michael? The emphasis on dialogue? The impact of the conversations?

5. Alan, his age, his career, married several times, his music production, his reputation in the industry? Business trips? The visit to Russia? Meeting Laura? Bringing her back to the United States? Their young child? His love for Laura, yet his philandering? His moods? The distance between him and Michael? The decades of distance? Michael arriving in Memphis, his own uncertainties, the relationship with Laura, dealing with his father? Alan and his moods, especially with Laura, with Michael?

6. Laura, her Russian background, accented language, communication? Sometimes seeming impassive? The response to Alan, the reason for coming to America, leaving Russia behind? Not married? The baby and looking after the child? The role of the babysitter, interactions with the babysitter? The precarious relationship with Alan? Going to the bars, flirting, with different men? The details of life at home? Conversations with Alan? With the babysitter? The arrival of Michael, interest, attraction, his confusions, their discussions, Michael’s explanation of his alienation from his father? Love – openness to possibilities?

7. Michael, his age, the same as Laura, his relationship with his father, the long alienation? His arrival in Memphis? Confused? His marriage? The discussions with his father, clashes, possibilities for reconciliation? The encounter with Laura, the attraction, the relationship? His explaining himself, his career, as a lecturer, to Laura? Her sympathetic listening? What future for him?

8. The babysitter, her role in the household, teenage, relationship with Laura, discussions, with Alan?

9. The range of characters in Memphis, those in the music industry, the place, work, relationship with Alan? Other characters, friends of the couple, influence on the couple?

10. A serious film about human nature, characters and relationships, confusions, resolution and lack of resolution?