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........................... Jan. 07 - Jan. 17, 2001
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| 'Joyful Partaking' tells many stories, all worth seeing | |
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The title of this film sounds delightfully carefree until the second half is revealed: "...In the Sorrows of Life." Writer/Director William Moreing clearly has much to say about life's difficulties, and he covers quite a few of them in one neighborhood, all in the course of a single day. John Procaccino plays the central character, Walter Majeski, a man tormented by the death of his young son. Moreing firmly weaves bitter irony into Walter's life: He's an ex-weatherman who failed to predict the freak storm that killed his son. Throughout the film, he is at odds with the universe itself, fighting a battle that he senses he will ultimately lose. When a saleswoman knocks on his door, selling subscriptions to pay for college tuition, Walter's self-contempt comes through in a straightforward, dry response: "I'd like to help, but that would be an act of kindness, and I'm a worthless jerk." Walter is a lost man ready to give up on any hope of happiness in life, turning instead to a voluntary death. Procaccino's portrayal of soul-wrenching agony, anger, and bewilderment is nearly palpable. In movement, he wastes nothing. Every twitch of the mouth, shrug of the shoulder, and tilt of the brow exposes torturous suffering far better than words can manage. Procaccino compels the viewer to know his anguish, to feel it. The only way to escape the force of his performance is to leave the theater...and even then he haunts the imagination. Despite the grave nature of Walter's troubles, his attempts to exit this world with some measure of dignity are repeatedly thwarted and provide a continual source of laughter. The comedy is dark, but it is soothingly satisfying for any person who has pondered life's meaning. Moreing's message seems to be: "Go ahead and laugh. It may be serious, but isn't it all rather silly?" Walter's neighbors, with whom he is not close, have their share of life's burdens as well. Jeff and Julie Claiborne (Andrew Heffernan and Jennifer Sue Johnson) are a young couple trying to care for Jeff's ailing mother, Marian (Elizabeth Huddle). Marian recently suffered a stroke, and her inability to effectively communicate renders her daughter-in-law, Julie, angrily baffled. Huddle delivers a poignant performance based more in gestures and nuance than dialogue. Huddle is magnificently moving as her facial muscles labor to issue each single, mangled word. Every strained syllable is heartbreaking, and the viewer is drawn in, leaning forward, trying to help her speak. Marian suffers a fall early in the film and spends most of the time awaiting help. Lying on the ground as the neighbor's work through their troubles, she watches life's little moments pass her by. Huddle conveys a childlike wonder that is no less than magical. Joyful Partaking is Jennifer Sue Johnson's film debut. Although she has a considerable background in theater, Johnson seems distinctly uncomfortable through much of the film. At times, she appears to read lines rather than experience them. It is a testament to Huddle's skill that Johnson's best moments involve scenes with only the two actresses expressing intense emotions in uncomfortable circumstances. Huddle draws out the best from Johnson, and one of their last scenes together is deeply touching. Vivian Vanderveeck (Jane Jones) also lives in this neighborhood. Vivian is a desperately lonely lady who is anxious to find a wonderful man before it's too late. She fears that her only lifelong companion will be her dog. Vivian is marvelously wistful, hopeful, and kooky. She has saturated her imagination with romance novels and consequently counts on the day when her knight will knock on the door. She is so forlorn at the thought of spending her life alone that she turns to a Russian psychic for guidance. She is heartened, distressed, and ultimately confused upon hearing the medium's forecast, and one of the finest moments in the film is the arrival of Vivian's future. Jones is a joy to watch. She displays an awe-inspiring ability to appear endearingly eccentric, and her radiant heartache is breathtaking. The Utterback family lives in this neighborhood as well -- "Big Dick" (George Catalano); Luann (Kit Harris); daughter, Samantha (Bridget O'Neill); and son, Richard (Orion Orellana). Utterback spends his out-of-work days drinking beer, bullying his wife and children, and issuing racial epithets. This behavior disturbs the family, but Luann sees through his callousness. It is evident that she loves the frightened man encased in a hard yet fragile shell. Utterback is viciously hostile, a man who revels in causing others pain while unemployment has left him feeling powerless. Catalano uses simple, powerful expressions that allow brief glimpses into his character's paralyzing fear and pain. He spits hate at the world while he flounders, unsure of what to do with himself. Luann is a wife both frustrated with her husband's behavior and fearful of the effect it will have on her family. She is soft-spoken and seemingly unwilling to put up a fight, but when it is time for Luann to take charge, she is startling in her sudden display of strength and force of will. Joyful Partaking has a large cast for an independent film -- more than 28 speaking parts -- too many to adequately critique here, but nearly every performance offers something unique, worth seeing in its own right. Moreing is a retired actor making his debut as a feature film writer/director. Joyful Partaking is a complex tapestry of plots and subplots. Moreing makes it easy to follow, but he does not hesitate to challenge the mind and heart. During a question-and-answer session after the film, Moreing and his co-producer, James Eaton, discuss the film. This audience is a little different than what might be considered typical. Most are residents of Ballard, where nearly every scene in the film was shot in one small neighborhood. When asked, "Why Ballard?" Eaton doesn't concern himself with flattery, affably responding, "We needed a block that worked." He chuckles and reminds everyone that he and Moreing were strictly using actors who are well known in Seattle, so his scouts simply searched for an area that would work for the story: quiet, with wide streets and the appropriate reflection of the film neighborhood's socioeconomic status. After an exhausting tour of festivals, Moreing has the air of one who is a bit tired of answering the same old questions, but he gamely fields the more typical queries. His mother provided the vision for a woman suffering a stroke and awaiting rescue. In that case, the mailman saved her. There are many moments that may reflect Moreing's take on life regarding metaphysical subjects such as superstition, God and religion, and humanity's place in the universe. Pressed for a more specific view of God and whether or not he believes in a higher power, Moreing matter-of-factly replies, "It's not a matter of belief. It's a matter of experience." Moreing says that it took ten to twelve weeks to write the screenplay. Hopefully, he is a prolific writer and will share his myriad ideas with audiences for many years to come. Joyful Partaking is a beautifully told, compelling story, as Moreing deftly balances anguish and laughter. The film is gratifying, one this reviewer highly recommends. The film won the Viewers' Choice Award for Best Feature Film at the Tahoe International Film Festival and was nominated for Best Acting Ensemble at the Ashland Independent Film Festival. For additional information and still shots, visit www.joyfulpartaking.com. Firm dates for festival showings have not yet been announced. Run time: 120 minutes Cindy Valleley is a journalism major at Shoreline Community College and hopes to enter the University of Washington by the winter quarter of 2003. It remains to be seen what the university will say about that.
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| by Cindy Valleley | |
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