Savage Grace (***)

SAVAGE GRACE
Directed by Tom Kalin



***

Poor little Tony Baekland. Being raised by two as vain and irresponsible as Brooks and Barbara Baekland, there seemed to be little choice for what Tony could do with his life. It was their selfishness and complete abandonment that led Tony to what would become a highly publicized murder. At least, the film would like you to think "poor Tony", but instead you're lead to believe he is nothing more than a spoiled little brat who never stopped screaming when he got his toys taken away from him.

It starts the moment little Tony is born. His mother Barbara (Julianne Moore) decides to celebrate her new child by going out with her already distant husband--and Tony's father--Brooks (Stephene Dillane). The two hob-nob with a prince, but Barbara drinks too much, asks Brooks embarrassing questions, and in a fit, leaves with another man. Brooks takes it in stride and goes home to his boy.

The boy gets older, grows incredibly close to his mother, while his father becomes more and more absent. Finally, Tony (Eddie Redmayne) has become a man. He loves Barbara, respects Brooks. The in-fighting between the two has become white noise for Tony, and he acknowledges and accepts just how awful the two of them are. When Tony brings home a Spanish girl named Blanca (Elena Anaya), they make love, but she eyes Brooks, and Brooks eyes her.

Brooks, absolutely spent by Barbara's volatility, takes Blanca and runs away, and Tony --as he puts himself--"inherits" the responsibility of watching the self-destructive Barbara. The mother and son do have love for each other, but its a love that is blurred by Barbara's insane mood swings, and their shared unchained sexuality. At this point, Tony has realized that he is much more interested in men, and Barbara uses this information to manipulate him into fulfilling certain odd sexual fantasies--sometimes even for herself.

What first-time filmmaker Tom Kalin creates with Savage Grace is more like a study in extreme sexuality than the path one takes toward murderous insanity. His decisions within the movie are sometimes horribly misguided, not knowing when to draw the line between sensuality and crassness (for example, early in the film a young boy is seen licking an embarrassingly phallic ice cream cone). The film, though, is shot in a very slick style, stretching numerous generations from the late 40's to the early 70's. He is, most definitely, a filmmaker to watch.

Not that I would classify Kalin as a "homosexual filmmaker" (Todd Haynes and Gus van Sant are often unfairly labeled with that title), but Grace does have a preoccupation with homosexual activity, along with incest and sodomy. It attempts to push boundaries instead of explain how Tony is led to violence. The history of Tony Baekland shows that he was violent even after murdering his mother, so when does he make that jump from socialite to criminal? The film is much more interested in scenes of anal sex than addressing the transition.

So, this does not sound like a review for a three-star film, but that is because I have yet to discuss the film's saving grace (no pun intended): Mrs. Julianne Moore. The film showcases her incredible and seemingly effortless ability to encompass a character. It's a snap shot of what has made Moore one of the finer actresses of her time: fearlessness. Not that we haven't witnessed her portray a character on a downward spiral (she also does this in Boogie Nights and Short Cuts), but its the grace at which she can be fierce and ferocious, as well as sincere and compassionate, mostly all within a singular film. Moore has the grace of Audrey Hepburn and the bravery of Marlon Brando. If she chooses the right roles--or just as importantly, the right films--she could very well end up being the greatest actress in film history (and yes, that statement is supposed to be as bold as it sounds).

Savage Grace is the kind of film that is supposed to entrance the audience, even when it seems like it is blatantly trying to repulse them. It pulls off this feat, and for that, I recommend the film. It is true, my biased opinion about the film's star lead me to be more kind with this movie than many other critics have been, but nobody can convince me that Moore's performance isn't one of astounding bravura and charm. The story of Tony Baekland is tragic, but it is a bed he makes himself. In the end, the film makes more of a case for Julianne Moore's ability, than Tony Baekland's victimized situation.