Film Review: The Safety of Objects (2001)
Life in American middle class suburbia can look like hell. Or, at least, if it is portrayed that way on screen, it could bring rave reviews by snobbish critics and increase chances for Oscars and other prestigious awards for authors of such films. That was lesson given by success of American Beauty, leading to a number of films with similar themes and styles at the start of 21st Century. One of those was The Safety of Objects, 2001 drama written and directed by Rose Troche.
The film is based on the collection of short stories by A. M. Homes, author who also helped Troche write her screenplay. The plot is set in New York suburb and deals with four families whose lives connect in unexpected ways. The first of those families are Golds, whose favourite beloved son Paul (played by Joshua Jackson), a talented musician, became comatose following a traffic accident and is now tended by his mother Esther (played by Glenn Close), who alienates her husband Howard (played by Robert Klein) and daughter Julie (played by Jessica Campbell). Before the accident Paul had an affair with Annette Jennings (played by Patricia Clarkson), middle-aged woman who now struggles to raise her two daughters. Jim Train (played by Dermot Mulroney) is a lawyer being embittered over not being promoted at his firm, and his mood alienates his wife Susan (played by Moira Kelly). Helen Christianson (played by Mary Kay Place) is a housewife who becomes obsessed with her age and tries to restore or relive her youth through extramarital affairs.
Troche, apart for setting the plot into suburbia populated by dysfunctional and unhappy characters, tries to mimic other popular dramas of 1990s, namely Short Cuts and Magnolia, by having large number of characters that are going to be played by ensemble cast. The cast includes some notable names, among which Oscar-winning Glenn Close is most recognisable and most memorable, but also Kristen Stewart for whom The Safety of Objects represented feature film debut and in which, like in so many of her films in later stages of careers, plays androgynous character of Annette’s tomboyish daughter. Like in many such films, some segments are better than the others, but their general quality is hampered by the lack of coherent narrative. Troche seems to be too much in love with unconventional styles and narrative techniques, making the film looking too pretentious and ultimately disappointing. Number of interesting acting performances aren’t the reason enough for The Safety of Objects to be recommended to anyone except the most curious viewers.
RATING: 3/10 (+)
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