Return With Honor (2007)
E.R.M.
Directed By: |
Michael Amundson |
Starring: |
Javen Tanner
|
Released By: |
Excel Film |
Released In: |
2007 |
Rated: |
PG |
Reviewed By: |
The Boneman |
Grade: |
B+ |
Reviewing LDS themed films always presents a bit of an objectivity crisis that often places an LDS critic on the horns of a dilemma. Reviewing even the stronger films from the Halestorm stable, or Richard Dutcher by the same standards applied to most other films either requires "kid glove" treatment or the possibility of disfellowship. Awarding a film such as Home Teachers, for example, with a grade any higher than a D+ is indicative of partisan glad-handing, pity, or the desire to avoid eternal damnation. Happily, amid the spate of Halestorm comedies and the spin-off's they've inspired, the emerging LDS film market has produced a number of films that transcend the all-too-easy-to-entertain target market and stand as films that can be judged by any standards.
Although it was virtually ignored, zboneman.com will forever stand behind our contention that the best film of 2005 is Greg Whitely's extraordinary documentary New York Doll. You could exhaust every superlative in the English language and still never sufficiently describe the virtues of this miraculous and inspiring film that chronicles the latter days (as it were) of former New York Dolls bassist Arthur Killer Kane. Not only does this film wear it's heart on it's sleeve but it's Mormonism as well. I'll go to my grave firmly beleiving that New York Doll proves beyond a doubt that the Mormon church is true.
Before I proceed let me make it clear that by no means am I categorically dismissing the Halestorm catalogue as heavy-handed, inconsequential garbage - there are extremely entertaining moments in these films. The Best Two Years is among the top five best LDS films ever made and there are inspired moments in all of them. I was particularly impressed by the satirical smarts demonstrated in Sons of Provo, and Mobsters and Mormons is in a lot of ways a pretty daring indictment of the provinciality and judgmental nature of so many of the church members. Which is a theme explored with a courageous intelligence and a uniquely nuanced intimacy in newcomer Tracy Garner's well-conceived debut - The Return.
Experienced Hollywood editor Michael Amundsen does a remarkable job in his feature film directorial debut and wastes no time wading right into the heart of LDS ritual and culture. Though, many of the themes the film's creators explore are clearly universal - as neck deep in Mormon waters as the film remains, I don't think they can realistically expect The Return to have a great deal of cross-over potential. Then again I tend to doubt that they were really aiming beyond the LDS market. The Return is so steeped in the Mormon tableau, that I believe Garner, Amundsen and company would be more than content to have The Return find a place in the pantheon of LDS film classics alongside God's Army or The Other Side of Heaven. Both of which, incidentally, pale in comparison to The Return in most every respect.
The Return first earns it's title as Elder Rowe McDonald (Javen Tanner) is being released from his mission. An overachiever, Rowe spent his two years in Las Vegas as a successful missionary racking up impressive stats. But in his release interview with his mission supervisor it is intimated that Rowe's success owed more to his penchant for choosing individuals ripe for conversion, than to his fiery testimony. In the interview Rowe confides that his first order of business upon returning home will be that of converting his non-Mormon mother. To which his wry supervisor jests that he hopes that his mother is as easy to get in the drink as some of his converts. (Actually, due to having taken my daughter to the restroom during some of this scene, I'm sure it was a bit funnier than I've managed to convey).
By making his protagonist out to be flawed, a bit unscrupulous and at the very least "human" Garner takes a bit of gamble that audiences (particularly Mormon audiences) will cotton to his main character. (Garner now lives in Las Vegas which may explain his propensity for taking risks). But thanks to Javen Tanner's boyish charm and Tom Hanks-like bearing, Rowe is afforded a bit of wiggle room. On his way to the airport he even has a bit of an unpleasant exchange of words with the man driving the cab, which all becomes somewhat moot as the vehicle is at that moment involved in a violent collision which claims the life of both men.
Soon bathed in a blinding celestial mist, driver and passenger suddenly have nothing but love for one another. Garner borrows a page from such films as Heaven Can Wait, when Rowe explains to a heavenly emissary that there must have been some mistake and that he must be allowed to return to Utah in order that he might be afforded the opportunity to baptize his mother. He is granted this request with the admonition that he will only be given 60 days to bring this to pass as there are far more pressing matters in store for him. Cut to a hospital bed where we soon meet his mother Trish (Tayva Patch) and his girlfriend Ally (Joey Jalalian) who has faithfully awaited "both" of his returns.
Of course there is much relief and rejoicing as we are regaled with the details of his miraculous recovery. Rowe does his best to play the part of the grateful survivor, who is to be married in the temple in a matter of months, but the haunting realization that he has been granted nothing more than a 60 day work furlough makes it difficult for him to express the joy everyone would expect from him under such miraculous circumstances. My partner Adam Mast, confessed misgivings about the 60 day premise, arguing that it was too much of a manipulative device, but I like it. It allows the film's creators to infuse layers of resonance and immediacy to every small gesture or remark - plus having the imposed time limit corrals and revs up the narrative in such a way as to add a measure of metaphysical abstraction (you begin to look at everything from angles both forward and backward, giving the film an extra helping of food for thought.) It involves a bit of suspension of disbelief, but so does the story of Joseph and the pillars of light. And as my wife suggested it underpins everything that happens with that much more emotional impact.
First of all Rowe's "nothing to lose" approach to things strikes everyone as being a bit pushy. By looking at everything from his "hurry-up offense" perspective, it serves to reveal some of the shortcomings of his character - (he becomes increasingly judgmental, jumps to hasty conclusions, etc.) As an audience, we understand his lack of patience, and to some extent the device serves as a pretty nifty metaphor that allows us to see these same shortcoming in ourselves. In effect, Garner has posed a pretty clever "what if" scenario which he examines quite intelligently.
Rowe's big plan to put the full court press on his mother unravels right off the bat when he learns that she has lost her old job at a cafe and is now serving up the 3.2 at a bit of a rowdy bar. Right away Trish senses the dim view Rowe immediately takes of this development and begins to resent his "holier-than-thou" attitude. To add 15 tons of pressure to his already untenable dilemma, Ally has already found them a place to live (post-temple-marriage) and though he takes up residence there, the fact that he knows that their marriage will be all preparation and no perspiration, leaves him in a quandary as to handle this situation, period.
Next he learns that his life-long friend Corbin, (Raymond Zieters) with whom he'd once been inseparable, has shaved his head, adorned it with a rather sizable tattoo and is playing guitar in a metal outfit. Zieters is a revelation here, with impeccable timing, he turns in the funnest performance of the film. Corbin is the first one to really call Rowe on the carpet for returning from his mission with such a stick up his behind. Yet it is his old friend who stumbles innocently upon Rowe's journal, thus discovering the reason behind his friend's overzealous behavior and becomes the only person he can confide in about his existential predicament.
After a talk with his Bishop, where Rowe happens to learn that the man wasn't a member of the church when he was first married but was later sealed in the temple after having joined the church, Rowe has his darkest confrontation with temptation. After a pretty passionate makeout session with Ally, it hits home in the most profound way that he'll never know the wonders of consummating his love for her. After making a show of being overwhelmed by all the wedding preparations, he makes a rash proposal that they run off to Vegas and elope. Attempting to persuade her by using his Bishop as an example of what a common practice such things are. Ally becomes incensed at his lack of appreciation for her efforts and, after a good piece of her mind, storms off - leaving Rowe to wrestle with his conscience and increasing confusion.
It all comes to a head when Rowe goes to the bar to step up the effort to turn his mothers life around, and is accosted by a trio of toughs who've heard reports of his holier-than-thou treatment of his mother and proceed to force-feed him a beer. Later when he seeks out Ally to apologize for his ridiculous suggestion about eloping, she smells beer and smoke on his breath and gets a little taste of his own "jumping to conclusions" medicine. There are a lot of twists and turns to come before Rowe's 60 days elapse and I'm loathe to give much more away, though I will tell you about a few more scenes one that genuinely made me laugh out loud and another that gave my ducts a bit of a blow out.
Screenwriter Tracy Garner plays Rowe's mother's somewhat low-brow lout of a live-in boyfriend Scott - who becomes something of an outspoken obstacle to Rowe's efforts to teach his mother about the Gospel. When a pair of sister missionaries Rowe had arranged to come by to speak with his mother encounter the beer-swilling rube it's all they can do to maintain their composure. After he makes a scene with his wisecracks about the church and some urban legend baloney about some Mormon Mafia, both the missionaries and Rowe have heard quite enough and finally leave in disgust. But when Rowe receives a phone call early the next morning from his Mother who has been the victim of Scott's drunken temper he indeed shows up with a makeshift Mormon mafia in tow, in a scene that is expertly written and wonderfully choreographed down to the smallest nuance of comic timing. Trust me - it's a hoot.
Following this there is a heart-rending and nicely directed scene where at long last Rowe's mother confesses the truth about his real father. A single continuous shot from just outside a jeep in the rain, that is truly the emotional epicenter of the film. It not only gave my wife one of her famous migraines that only result from crying too hard during a movie, but it's the scene where Rowe begins to understand that, though he's been trying to do what he believes is right - he's been doing it for reasons that suit his self-centered views - no matter how omniscient he believes them to be. Thus by finally backing off up and giving his mother the chance to think and act on her own volition things finally turn a corner for Rowe and his crusade.
Overall the film is surprisingly well executed, the performances are uniformly strong and the narrative is clever and packs a universally sound message that Garner and Amundsen get across without being in the least bit preachy. He manages to show the church in a very honest, while not unflattering light, and uses the main character to illustrate the human foibles that plague all religions. I will admit, having seen so many movies and written one as well, I did see the ending coming, but to Garner's credit it isn't at all telegraphed and is quite satisfying. There are plenty of powerful moments, much food for thought, a really terrific score and soundtrack and well balanced mix of comedy and drama. Most of all, I appreciated the realistic characterizations and his willingness to explore the problems associated with the church while never indicting the organization itself. Tricky business, and I say these things because they are the genuinely true and not because I'm a Mormon. Amen.
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