Sunday, August 13, 2017
The Glass Castle
The Glass Castle tells a messy story neatly. The new drama, based on the memoir by Jeannette Walls and directed by Destin Daniel Cretton, is the story of how one family overcame its own weakest member in order to survive. Yet to the film's detriment Cretton can't quite resist the temptation to leave the story in a comfortable place. Walls's book recounts her family's peripatetic existence. Her father Rex (Woody Harrelson in a frightening portrait of half-understood inadequacy) was a soldier whose alcoholism and distaste for authority set the family moving from town to town, always in poverty. (The title refers to Rex's never-realized dream house.) Rex's worst tendencies were for too long enabled by his wife Rose Mary (Naomi Watts), a self-absorbed artist who in the opening scene is too distracted by her work to make Jeannette lunch. Jeannette (played as a child by Chandler Head and then the very good Ella Anderson) attempts to cook hot dogs and sets herself on fire. There is more time on the road - Jeannette and her siblings are forced to ride in the back of a moving truck - and there are more towns, but the Walls eventually land back in Rex's hometown in West Virginia. We go back and forth between Jeannette's childhood and Jeannette in 1989, played as an adult by Brie Larson. Jeannette is now a writer for New York magazine, but her weekly gossip column doesn't fulfill her broader ambitions. Her fiance David (Max Greenfield) is both loving and financially comfortable, but again something is missing. Seeing her parents on a New York street ignites a spiral of memory in Jeannette that drives the film emotionally. The Glass Castle is filled with incident, mostly to do with Rex's drunkenness, and Cretton films Jeannette's disastrous swimming lesson and a fight between Rex and Rose Mary without cutting away from how frightening those moments were. Yet for too long the story feels out of balance, as we watch Jeannette and her older sister (Sarah Snook) frantically save money to move to New York while the 1989 version of Jeannette remains something of a cipher. Brie Larson acts here with supreme control and gives a convincing performance as someone feeling out her life in the moment, but Cretton's script doesn't let us know her very well. Moments where Larson does let go, like during an arm wrestling match between David and her father, are riveting but the character doesn't seem to have any life other than dealing with her fiance and family. Too much time is spent on Larson playing Jeannette as a high schooler, where we are given to understand that she discovers her calling as a writer.
Destin Daniel Cretton's screenplay, cowritten with Andrew Lanham, is doing a hard-sell on the themes of Acceptance, Forgiveness, and Understanding. Rex's behavior is given partial justification once the family returns to West Virginia and his own mother (Robin Bartlett) is introduced. As the film goes it slides onto a track where we can feel confident that Jeannette's feelings about her parents - which boil over at her engagement party - will be resolved. Will Jeannette become estranged from her family? Check. Will Rex's drinking catch up with him? Yes. Will father and daughter have a final meaningful conversation? You got it. Jeannette's memories of her girlhood with her father become noticeably kinder at this late stage, with Harrelson getting a sort of seize-the-day speech about "attacking demons." The desire to mitigate our feelings about Rex may be a natural one, but it saps the film of some emotional honesty it had earned when Rex threatens to throw Rose Mary out a window. We leave the Walls family with Jeannette hosting a Thanksgiving dinner for her siblings and her mother. Stories of Rex are delivered with laughter and tears, but have Jeanette or the film earned this moment of exhalation? The Glass Castle has been adapted with great skill and conviction, but by working too hard to contextualize Rex it only describes the surface of what he gave to his daughter.