A History of Violence Review
by Homer Yen (homer_yen AT yahoo DOT com)October 25th, 2005
An Absorbing "History of Violence"
by Homer Yen
(c) 2005
Nothing much happens in the sleepy Indiana town where Tom Stalls live (Viggo Mortensen). He's just an ordinary family man that everybody knows because it is a small town. The most exciting thing may indeed be watching steam rise from the coffepot in Tom's Diner. With the townfolks' charming eccentricities and the small-town gossip that make for odd conversation, this is one of those towns where time moves ahead with the purposefulness of molasses.
Viggo Mortensen looks humbled and emaciated, not nearly the regal character that we remember from Lord of the Rings. He has done a good job of finding different roles to diversify him and to fortify him as a good leading man.
Tom Stalls is as likeable as they come. He got country-boy good looks. He loves his playful
wife (Maria Gallo). And, he has two adoring
kids. Well, what not to love? This film could very well be a 40-something love story. By the time (and we see this in the trailers) two very bad men enter his diner to do what very bad men do, we're in total support of what Tom does. Ah, but after we've had time to digest the events
that take place, we have to wonder how an unassuming business owner can be so stunningly efficient? And then soon after, why is it that this seemingly heroic gesture would attract a vengeful looking chap (Ed Harris) into town?
The details are not terribly important in
"History of Violence." That's because this isn't so much a story that deals with plot as it does with the evolution of the character. We watch
Tom seemingly transform from mild proprietor to efficient killer. And, in a parallel story, we watch the son uncover the animalistic brute in
him as he fends off high school bullies and even intimidating criminals. Violence is a
fascinating beast when left unchecked. It morphs quickly. It is hard to contain. Most
disturbing, in certain forms, it may be accepted and even cheered.
The craftiness of the film is how deceivingly sly it is in finding a way to manipulate our sensibilities. What Tom and his son eventually
do is condemnable. But somehow in the context of this film, we find it okay to turn the other cheek. The question eventually arises as to who is more evil. Is it the strange out-of-town visitors? Or is it Tom? And if it is Tom, we find us likely to forgive him. As a result,
there is an air of unsettling quiet, like the
calm before the storm.
The movie moves with a comfortable pace. It's
not hurried and proceeds with a slow gait like a walk in the park. The end becomes a little strange when the Mob enters the picture and the road of violence opens from a small path to a 4-lane highway. Is that possibly to appease the antsy filmgoer who has a self-imposed quota of action from an R-rated film? It's a blood-splattering finale alright. But where else would Tom's path take him? Violence may not always be the answer. But it's interesting how this film makes us think that there may be no other way.
Grade: B
S: 3 out of 3
L: 3 out of 3
V: 3 out of 3
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