DVD available at Amazon.com
Writer-Director:
Lodge Kerrigan
Cast:
Damian Lewis……….William Keane
Abigail Breslin……….Kira Bedik
Amy Ryan……….Lynn Bedik
Christopher Evan Welch……….Motel Clerk
Magnolia Films presents Keane. Running time: 94 minutes. Rated R (for a scene of strong sexuality, drug use and language). Available on DVD: March 21, 2006.
The movie:
Lodge Kerrigan may not be a household name, but in 1994 he made his directorial debut with Clean, Shaven. That same year, guys like Quentin Tarantino (with Pulp Fiction) and Kevin Smith (with Clerks) were changing the face of independent cinema. Sadly, Kerrigan’s work was not part of that movement, ultimately being forgotten by the critics and viewing audience. Eleven years later, people reading this review may not recognize who Lodge Kerrigan is; hopefully, his latest film Keane will change the public’s perception.
Another unknown to many, Damian Lewis (TV’s Band of Brothers; An Unfinished Life) stars as William Keane, a schizophrenic man who relives day after day a tragic event that occurred some months ago. His daughter was abducted at the Port Authority Bus Terminal. We know the abduction took place sometime in September. Only we don’t know if it has been weeks or months since her kidnapping. With a newspaper clipping in hand he asks complete strangers and bus personnel if they have seen his daughter. The people look at him quizzically, passing him by as if he was some guy looking for a handout. When night falls, Keane suspends the search and retreats to a life of booze, drugs, and unprotected sex.
Keane does not have a job but gets a disability check from the government. It’s not a substantial amount, just enough to pay the rent in a cheap hotel. His hotel room is his home. It is the only thing that separates him from being poor instead of homeless. Trying to function, while performing daily tasks that we do so unconsciously, he offers a commentary of thoughts and feelings. The only time he’s not talking is when he’s drinking or snorting.
Everything changes the day he meets Lynn (Amy Ryan) and her daughter Kira (Abigail Breslin) at his hotel. They are new to the residence, and with their arrival Keane experiences something that has been missing for many months: companionship. With schizophrenia it is quite possible the relationship could help him regain some semblance of stability, yet it could also have an adverse effect. Making him recall fond memories and thus cause his mental instability to worsen.
At first glance, Keane does not warm itself up to the viewer. Time moves slow, much like the titular character’s actions; shots where most filmmakers would cut to another scene, Kerrigan remains on his subject. Even moments that should be quickly finished, linger for several more seconds.
Using a first-person perspective, the director follows Keane as he walks with a hurried gait at the bus terminal. Almost like a documentary, Kerrigan is there with a camera capturing this man’s life and behavior. He does not try to explain his condition or give us any answers. The camera allows the viewer to see the two sides of Keane – lucid and incoherent.
The encounter involving the three, and Keane’s later insistence that Lynn take the money he offers her, lays the foundation of a relationship. It’s a good thing Keane didn’t have the stench of alcohol on his breath or speaking unintelligibly at the time of their meeting. A few days later she invites him to share some Chinese food with them. Relationship turns to responsibility as she asks Keane, a man she has only known for a few days, to pick up Kira after school.
He dutifully meets Kira at school, brings her home, and keeps close watch while her Mom works at a local diner; during those few hours they spend together he takes her to McDonald’s. His life had been relatively calm interacting with Lynn and Kira in short periods, but spending time with his daughter-figure makes him remember that fateful day at the bus station last September. Thus, Keane is terrified of the responsibility bestowed upon him.
An interesting parallel are the characteristics between Keane and newfound friend Lynn. Keane was married and had a child. The child was kidnapped and his marriage fell apart. He tried to reconnect with his ex-wife through phone conversations but it doesn’t amount to anything. Lynn has a daughter whose husband abandoned them, either to find work elsewhere or maybe to leave his family altogether. Both characters have their faults, but ultimately are persons who are trying to make their lives complete.
Damian Lewis’ performance helps to define his character’s condition. Embodying rather than imitating, Lewis knows this character better than anyone. The little nuances like how he acts when washing his hands or walking the interior of the bus terminal. He is not being dramatic. This can be attributed to the filmmaker. Kerrigan tightens the reins so as to not give the stilted impression of schizophrenia. Instead, he allows the viewer to form his own opinion about William Keane; while providing a fascinating little story defined by the scope of its subject matter.
Score: 9/10
The DVD:
THE VIDEO
(Presented in 1.78:1 Anamorphic Widescreen)
Using HD cameras, the film is often grainy or not exposed to the right degree. But to the director’s credit, this look is essential to the story. The way how it is muddled and inconsistent is almost representative of the title character. Kerrigan does the best he can considering it is an independent production and money is a scarce commodity.
Score: 8/10
THE AUDIO
(Dolby 5.1 Surround Sound)
The Dolby 5.1 track creates weight and atmosphere for the story, and sometimes works better than you would expect. Keane could be in a fast food restaurant, his hotel room, or bus station and you can hear his terse commentary okay through the center channel. The ambient noise – noises you would commonly hear on the street, at McDonald’s, et al – seems real. A much better experience watching on your personal home theater as the sounds envelop around you.
Score: 8.5/10
SPECIAL FEATURES: Producer’s Cut!!!
Despite the numerous Magnolia Home Entertainment advertisements, the only “real” extra is an alternate cut of the film itself, created by executive producer Steven Soderbergh. It, too, has the same 5.1 soundtrack and widescreen ratio. Preceding the film is a black screen with white text. Soderbergh writes, “While I was away on location, Lodge sent me a copy of Keane to look at before he locked picture. I loved the film and told him so, but also sent him this version to look at, in case it jogged anything (it didn’t). In any event we agreed it was an interesting (to us) example of how editing affects intent. Or something.”
The producer rearranges the footage into an alternate cut that is about 15 minutes shorter than Kerrigan’s vision. The interpretation while unique, is not completely different than what the director had intended. Already, the viewer knows all about Keane’s world before his “new family” comes into his life. Here, the story cuts between his bouts of schizophrenia, his good days, and his watching over little Kira while Mom is away.
Kerrigan’s version is strictly a narrative with William Keane at the center. The first twenty minutes take place at the bus terminal. The viewer must stay with it if he is to see how the story progresses. Soderbergh, on the other hand, is trying to establish the mood of Keane while maintaining his focus on the titular character.
No cut is superior than the other, but the producer’s cut is the version that would have generated a larger audience. This is in large part due to the lack of first-person cinematography at the film’s onset.
Score: 7/10
| InsidePulse’s Ratings for Keane | |
