Isaac Siegmund-Broka
Staff Writer
20th century satirist and author Kurt Vonnegut once said, “No matter in what era in history, including the Garden of Eden, everybody just got there.” Behind the blatant logic of this quotation lies the wise conviction that there are some events in life that one simply cannot prepare for.
Alexander Payne examines some of these trying events in his new film “The Descendants.” Payne takes fundamental thematic topics such as love, childhood and family but gives them a clever, bittersweet uniqueness that touches the heart—but never pushes.
After an unexpected boating accident leaves his wife Elizabeth (Patricia Hastie) in a coma, Matt King (George Clooney) must reconnect with his two disobedient daughters, Alexandra (Shailene Woodley) and Scottie (Amara Miller). King is also the sole trustee of his ancestors’ enormous plot of Hawaiian land, and is therefore responsible with its impending sale to one of the multiple warring business factions that want it.
As if this wasn’t enough, King’s problems escalate upon his learning that Elizabeth was engaged in an affair. With his two daughters and Alexandra’s dim-witted but sincere friend Sid (Nick Krause), King goes on a quest to find the man who his wife was involved with.
Clooney’s sincerity never falters despite constantly changing form, taking on the characteristics of alarm, resentment or weariness. As King’s rebellious older daughter, Woodley’s tactfully depicts her character’s blemished but improving morality and her veiled sorrow over Elizabeth’s condition.
The film’s most evident flaw was a slight implausibility in the nature of the characters. While King’s composure is enviable, it is not altogether believable; though Sid’s laid back easy-goingness is amusing, the accompanying obliviousness is stretched past its limits.
“The Descendants” is well written to say the least. The comedy is witty but dark; the drama, heartfelt while reserved. The blatant irony of the film’s concept—a woman wreaking havoc in the lives of many despite her total lack of sentience—gives it a painful but delicate power.
Perhaps the best characteristic of “The Descendants” is the use of suburban Hawaii as a setting. The distinctive lifestyle of the film’s characters provides an insight into the often overlooked slice of the American suburb culture. The picturesque natural aspects of the Hawaiian setting instill a sense of beauty in this otherwise-depressing depiction of family life.
As King points out in the films opening scenes, Hawaii is often mistakenly thought of as paradise. By showing conflict and devastation in a stereotypically idyllic setting, “The Descendants” suggests the universality of human tribulations. Furthermore, the fragmentation of King’s family is mirrored in the archipelago arrangement of the islands.
“The Descendants” is touching, genuine and most of all, humbling. Problems and tragedies are inevitable for all families. While there is no true way to prepare for these trials, “The Descendants” shows that it is not impossible to overcome them. Fueled by this bittersweet message, heartfelt acting and clever writing, Paynes’ “The Descendents” could be considered as one of the years’ best films.
“The Descendents” is rated R and is playing in theatres nationwide.
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