American Pastoral

There's not one authentic moment in this entire film. Nobody captures the richness of Jewish speech, humor, or warmth. The Sixties are never convincingly brought to life, and the characters are all misrepresented. In Roth's novel the Swede is strong, handsome, athletic and charismatic -- more John Wayne than Woody Allen. He's a man of stature. In the movie he's a doormat (what we used to call a schlemiel) and everyone walks all over him. In the book daughter Merry is an ugly duckling and even her own father finds her repulsive. In the movie she's played by Dakota Fanning, a genuinely arresting screen presence who looks smart and chic even when she's lounging around in cast-off military jackets. Neither the book nor the movie creates characters you can like or care about, but at least in the book there's a certain amount of barbed humor and acid social commentary. The movie is never funny, except when it's trying to be tragic and profound. Watch the scene where the Swede "apologizes" to the family of the man killed in his crackpot daughter's bomb blast. Watch the way McGregor just sits there staring at the widow and her little boy. Watch the way the little boy just sits there, staring at the man whose daughter just killed his daddy. Watch the kid's eyes. They are blank, totally blank, and the scene goes on for about five minutes. Nothing happens, just a little boy sits there and looks empty-eyed. For five minutes. While Swede hems and haws and says nothing much at all. It's painfully clear that this director never directed a film before, but the irony is that there was material here for a real classic. The themes and underlying atmosphere of American Pastoral are not so different from Legends of the Fall. A well-meaning patriarch tries to shelter his child from the evil of the world, only to find his world destroyed by the choices his child makes. The problem is that a putz like Swede Levov just doesn't hold the audience's attention. And his wife looks stupid walking around with a cow!

I guess I liked this movie more than most, based on the ratings. I think it may have been a bit too real, too tragic, too literal for most. Very well written, of course, being based on such a classic novel. Really great performances. Mcgregor, Connelly, Riegert, Fanning, and the always great Strathairn. Great direction, gorgeous production, editing, and sound. This was a very tight production. It was completely believable, in it's Shakespearean level of tragedy. The story follows Seymour "Swede" Levov (Ewan McGregor), the pride of the Jewish-American community in Newark (which nicknamed him "Swede" because of his Nordic good looks). By the looks of it the Swede seemed to have it all! He was a star high school athlete (really, a hero and a legend in his hometown), he married the catholic Dawn (Jennifer Connelly), a beauty queen, he took over his father's thriving glove business), he had a house with a nice spread, he and his wife had a loving, beautiful daughter to care for. What could go wrong? Everything. At the 45th high school reunion of Swede's younger brother, Jerry retells Swede's story to an old classmate, Nathan Zuckerman (David Strathairn), a journalist who was overseas during the 1960s. He tells him how Swede's life became difficult after high school - and went downhill from there. Swede had to struggle to get his very traditional father (Peter Riegert) to accept the Catholicism of his wife, Dawn, he struggled to keep his business viable in the face of declining customer demand (and being at the epicenter of the 1967 Newark race riots), and he struggled mightily with his daughter, Merry, who dealt with a bad stutter, which clearly affected her confidence and self-esteem (besides the "problem" of having such a beautiful mother, as pointed out by Merry's psychologist, Sheila (Molly Parker). But Merry's problems (and her parents' problems with Merry) had just begun. As she grew up, Merry became disillusioned with the world which she saw on TV as seemingly coming apart. She strongly sympathized with the Civil Rights Movement (especially its more radical elements) and the Vietnam anti-war movement (especially its more radical elements as well). She went from spewing hatred at President Johnson's image on the family's TV set to regularly taking the train into New York to commiserate with like-minded radicals. She rudely rebelled against all authority figures (including her own loving parents) and started talking openly about the need for a revolution in the U.S. One day, a local post office exploded, killing one man, and Merry disappeared. Her anguished parents insisted that Merry couldn't have done such a thing unless she was brainwashed and forced by others. The first half of the film is exceptionally well done and captures the essence of why the second half feels like a total loss of everything Swede thought he had. It is refreshing to see the film explore the relationship between father and daughter. The Rita Cohen (Valorie Curry) character, was a bit bizarre, as a shrink. Swede's determination and unconditional love for his daughter was true to life, and it was quite depressing to see what those admirable qualities did to his previously promising life. As a director McGregor captures the era, the times, the setting, and the difficulties of raising a child. This is a very somber film. It could have been better. But, it made some good points. It made me very grateful that I decided not to have children. Most just assume peaches and cream. Not so this time around!

This film tells the story of a middle class family in the a United States of America in the sixties, when there were political turmoil and social unrests. A teenage girl turns radical, leaving behind a trail of destruction and regret. I often have not liked films that are directed by actors or actresses. Hence, I have not expected "American Pastoral" to be so engaging. The interpersonal dynamics in the film are closing and convincing. I five myself trying to interpret how and why the girl turns out the way she dies. It is also a great plot point that the psychiatrist does know her stuff, and sees what is happening before other people figure it out. The contrasts between the reactions of the father and the mother after the tragedy, and also the contrasts between the speed of the subsequent recovery are astounding. I think this film is an engaging and thought provoking drama. I enjoyed it.

Greetings again from the darkness. Tackling one of the great American novels is a difficult challenge for even the most seasoned film directors … and a dubious undertaking (at best) for a first-timer. Philip Roth won a Pulitzer Prize for his 1997 novel "American Pastoral", and there have been rumblings of a Hollywood production for more than a decade. It's somewhat surprising that the screen version is directed by first time director Ewan McGregor … with the Scottish actor also taking on the lead role of local Jersey boy and sports hero Seymour "Swede" Levov. The story examines the cracks behind the façade of a seemingly perfect family … the sports hero marrying the beauty queen. Of course, there is always more going on within a family than most care to admit (at least that was the case in the days prior to Facebook). There's an early scene where Swede has introduced Dawn (Jennifer Connelly) to his father (Peter Riegert), and the philosophical and religious differences perfectly capture the changing times and mores from one generation to the next. Never has this been more true than the late 1960's and early 1970's … political and social upheaval were daily occurrences – and sometimes quite violent. The first half of the movie is exceptionally well done and captures the essence of why the second half feels like a total decimation of everything Swede thought he had. He and Dawn's daughter Merry is beautiful and feisty and stutters … something that only enhances the anger she expresses and anguish she causes for her parents. Her innocent questions as a young child evolve into radical political beliefs and affiliations as she grows up. Merry (ironically named) is by far the most interesting character in the story, but with the focus on Swede, Dakota Fanning only has brief moments that are worthy of her talent, and Dawn has only a few emotional moments that allow Ms. Connelly to flash the acting depth she hasn't shown in years. So much time and attention is devoted to Swede that the second half is a bit of a letdown and leaves too many details and questions unanswered. John Romano's (The Lincoln Lawyer) adaptation of the American classic took a different direction than we might have preferred, but it's a thankless job since so many have considered this as unfilmable. McGregor shows a good eye as a director, though it's obvious this material needed a more experienced filmmaker at the helm. The great Alexandre Desplat provides a classy score … the piano pieces are especially well suited. Supporting work is solid from David Strathairn as narrator Nathan Zuckerman, Rupert Evans as Swede's brother, Molly Parker as Merry's therapist, Uzo Aduba as Swede's employee, and Valorie Curry as a misguided revolutionary. It's a reminder that family dynamics may be the most complex organism, and when blended with the volatile times of the Vietnam War, a generational gap should be expected … even if it's difficult and emotional to accept.

saw this oddly paced film last night at a half empty theater preview. while the acting is good, the story and characters are strangely off. the pacing and cadence were oddly theatrical and felt unnatural. The whole film was peculiarly off-kilter. 3/4 or more was background development, never quite explaining the characters, effectively shooting itself in the foot. there is an weird, inexplicable sex scene. talking about the film, 3 indie filmmakers- none of us could figure out exactly what was the point, where it went off, why anyone would release this film. seemed like a film school project, not ready for prime time. had no expectations, but still left disappointed and confused.

"Why does everyone say she did it when she couldn't have done it? She's been tricked and abducted." Seymour (McGregor) was an All-American sports star that was the most popular kid in college. He married a beauty queen and has the perfect life. They are ecstatic when their daughter Merry (Fanning) is born. Little by little Merry becomes more and more radical and passionate about the polarizing politics of the 60's. After the local post office is blown up and someone winds up dead Merry is the lone suspect. Now, Seymour puts his life on hold to find Merry and discover the truth. This is a very very good move, but it is not for everyone. The pacing is just in that awkward spot where if you are interested in the movie you will stick with it and enjoy the events. If you are on the fence the pacing will be just slow enough that many may bail on this. As for the movie itself, its very artsy and deep and important. This is a great character study and features the best acting of McGregor's career. The movie is dark, very allegorical and deserves a bigger audience than it will get. Overall, a very deep and thought provoking movie that will either be liked or shut off before its finished, depending on the person. I give this a high B.

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American Pastoral