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Really Surprised!

Purely Joyful Movie!

How sad is this?

A clunky actioner with a handful of cool moments.

Nice movie, the old man is a likable character, still is a 'not very nice' person. It seems he was not really nice to his family either. The name of the guy he is trying to throw away from his home is Choat, kind of reminds me of the word "Tchort" that means Devil in Slavic languages: "Tchort is a Slavonic word (Russian Чёрт, Czech and Slovak Čert, Ukrainian and Belarusian Чорт) meaning Devil" Source:wikipedia Made me wonder if its allegoric and the man was trying to overcome and win his demons instead. Imagine the home being empty and not finding the courage to go inside, that overflowning home of memories of his wife... Finally he overcame his guilts and found peace. Just another point of view, food for thought ;)

2009 seems to be the year of the cantankerous curmudgeon as far as the movies are concerned. With Clint Eastwood's 'Gran Torino', Pixar's 'Up' and now first-time writer-director Scott Teem's 'That Evening Sun', the focus is on the octogenarian who refuses to be put 'out to pasture' and take 'one last fling' at life; to prove at the very least that even elderly people have some dignity in spite of the indifference of an uncaring, younger generation.Hal Holbrook lands the the plum part of Abner Meechum, the 80 year old country boy who flees the nursing home where he's been living for the past few months. It seems that his well-intentioned son Paul, a successful lawyer, convinced him to check in at the home after breaking his hip in a fall back at the family farm. Even Abner acknowledges that he would have died had his neighbor not checked in on him after the accident.But Abner still has some spunk left (unlike the tired and complacent denizens of the nursing home) and manages to make his way back to the family farm (aided by a sympathetic cab driver, initially hired by the nursing home to bring the curmudgeon back). When Abner does arrive home, he's shocked to learn that local ne'er-do-well Lonzo Choat, along with his wife and teenage daughter are living in his house and have a rent with an option to buy agreement with son Paul. Abner has known Choat for years and always regarded him as 'white trash'; we soon learn that Abner's evaluation of Choat is correct: he's been living on disability for years, is now broke and is an alcoholic to boot.Abner decides to move in to the sharecropper shack on the property. He adopts a dog from kindly neighbor Thurl which infuriates Choat, who can't stand the dog's continuous barking. The conflict escalates when Choat begins whipping his daughter Pamela's date after they have returned from a late night foray; the date manages to escape by driving off the farm in a car and Choat turns his wrath on his wife and daughter, whipping them with the garden hose until Abner puts an end to it by firing a shot in the air. Choat is further infuriated after Abner reports the incident to the local sheriff's office. Although Choat is brought in for questioning, he's ultimately released; it's obvious that the wife and daughter end up refusing to press charges.While there's tons of sympathy for feisty Abner, ultimately we're asked to view him as a victim. On the other hand, Choat is a despicable character—someone who beats his womenfolk and even stoops to killing Abner's dog as payback for being turned into the police. Paul victimizes poor Abner further by assuming that his father is nuts, disbelieving his claims that Choat was guilty of domestic violence (Paul has a deep chip on his shoulder—blaming his father for most of his problems and claiming that he also mistreated his now-deceased mother). This supposedly explains why he's not interested in taking any of his father's accusations seriously (you would think that a normal person would be curious as to why Abner has brought his pet to a taxidermist and had it stuffed, but Paul simply blurts out, "we're not going to go there"). Poor Abner—he's become a symbol of another 'marginalized' minority group—this time, the elderly! Another perplexing issue is Paul's willingness to rent the house to the Choats in the first place. Is he totally ignorant of the Choats' reputation in the community? Or does he hate his father so much that he totally rejects his father's opinion about them and willing to give Lonzo a break? Certainly the Choats have a 'history' in the community and Paul cannot be unaware of that. Why rent a house with someone who's on disability who can't really afford it? We never find out why Paul is so altruistic toward Lonzo; certainly he's made no inquiries as to Lonzo's true financial status (and this is a lawyer who's renting the house?). Paul could have made a few inquiries as to Lonzo's character, independent of his father's accusations (Why not talk to the family of Pamela's date?—he could have then ascertained that his father was telling the truth about Lonzo). Like Lonzo, Paul is simply not a well-developed enough character.Despite the imbalance in the narrative between the protagonist and antagonist, Holbrook holds his own amongst the great curmudgeons 'of our day'. It's a nuanced performance that mixes pathos with humor and occasionally offers some real surprises (I was truly thrown for a loop after seeing how Abner responds once Choat kills his pet). Mia Wasikowska is equally fine as the low-key teenager who has poor timing in trying to bond with Abner as she walks in on him at the very moment he's about to kill himself.Choat does save Abner's life but it isn't enough for us to change our minds about him. The ending to 'That Evening Sun' is ambiguous. Does Abner die at the end and meet his wife in heaven? Or does he recover from the burns he suffered in the fire and pay one last visit to the farm?—only to head out to the assisted living facility, suggested by his son. And what of the Choats? Does the son allow them to remain or are they history since they're broke and can't pay the rent?'That Evening Sun' has received a substantial number of positive accolades. Are they justified? If you look at the plot, in which the deck is stacked in favor of the protagonist—with the antagonists receiving short shrift, then I would be inclined to disagree with all the favorable reviews. But if you focus on Hal Holbrook's character and his performance, then I can understand why the film has garnered such a positive response.

In my opinion column, On San Diego, I offered a brief positive review of That Evening Sun after viewing it at the San Diego Film Festival. Those published comments are offered below."That Evening Sun," starring Hal Holbrook, shown on Sunday night to a packed house as the last film of the 2009 San Diego Film Festival. Now in his 80s, Holbrook gives a tremendous and subtle performance, as do all of the other actors in this Southern Gothic set in Tennessee: Walton Goggins, Mia Wasikowska, Carrie Preston and Ray McKinnon. With a screenplay written by Scott Teems, like fine red wine, well made and maintained, every character of the movie is developed and complex -- even the barking dog!The tension between characters, circumstances and passions makes this film a rarity, genuinely gripping from scene to scene and unpredictable to the end. The sound track is beautiful and delicately augments the emotional tension as the film wonderfully plays against the painterly rustic sharecropper house interior, forest, sunset sky and fantastically grizzled faces of authentically rendered people pursuing their respective deep, heartfelt aspirations. Like a Henry James novella, the film is underlain with ambiguity and uncertainty, empathy and shifting sympathies that will provoke conversation; one might pronounce it a good "date movie," with something for both men and women. A gem, this film is the kind one may only see at a film festival.San Diegans were lucky to be among the first to see the final cut of this fine work. Fortunately, come Thanksgiving time, 2009, "That Evening Sun" will be seen in limited release in Los Angeles and New York theatres. Perchance it will also return to San Diego?

I had the privilege of seeing That Evening Sun last night at the Atlanta Film Festival. Scott Teems, Terrence Berry, Laura Smith, Ray McKinnon, Walton Goggins, and Larsen Jay were all in attendance and conducted an excellent Q&A afterwords. There's so much to this film, so I'll start with the acting and go from there. The movie was so perfectly cast, from Hal Holbrook to Ray McKinnon all the way down to Barlow Jacobs the cab driver - they all were so authentic and believable. There was a lot of very good dialog, but I felt in the moments of quiet grief, contemplation, and observation there was so much more said about the characters. The story itself was very simple - it had no effect on the world outside of the few characters involved - but again it made the whole situation believable and really struck home with a lot of audience members. The movie is very smart - it doesn't hit you over the head with actors stating "I feel remorse, I feel sad, I feel angry." You get to watch their actions in the present reveal their character and past. Location was perfectly southern, shot just outside of Knoxville on an old farm, complete with the tenant house seen (although the Q&A explained the actual tenant house was disassembled and rebuilt closer to the main house). There is something about truly southern movies that have a feel like no other with a landscape and sound you can't find in Canada, New Zealand, or LA. The music, done by Michael Penn and the Drive-By Truckers, completed the whole picture with a quiet southern flavor. Scott Teems explained in the Q&A that he wanted a lot of quiet time for the audience to absorb the story and the location. The music was present, but didn't drive scenes. All in all, this is one of the best independent films I've seen in recent years, and is instantly one of my favorite films of all time. Please go see this film, you will not regret the time spent!