The dictionary defines "affliction" as "a condition (or cause) of pain, suffering, or distress." Not knowing a thing about author Russell Banks or what motivates his dramatic works including the source novel for this film and last year's equally gloomy, "The Sweet Hereafter," I'd hazard a guess that he's afflicted with the memories of some unfortunate or traumatic event that occurred in some bleak, snowy setting in his past.
Whether he lost too many snowball fights as a child or perhaps had a harrowing experience on a thinly frozen pond or lake, one thing is certain. We can only hope that he lives in some hot, humid and decidedly tropical location that's far removed from the depressing, wintry environs he so perfectly evokes in his works.
A powerfully bleak, somber and certainly depressing experience, this film could bring down meetings of over-optimists anonymous and even put motivational gurus like Anthony Robbins into a funk. Immediately after seeing the film you'll know exactly what I mean and you'll definitely leave the theater with a bitterly unpleasant taste in your mouth.
Despite all of that, however, and with a little distance and time away from the movie, it becomes much easier to admire the film and how its story unfolds, the tremendous performances from its two leading men, and overall just how good a picture it really is.
That doesn't mean it will make the experience any more enjoyable or entertaining -- those are two words clearly not associated with this picture -- and it's highly unlikely anyone would return to see it a second time. Nevertheless, you'll certainly find yourself acknowledging how powerful a film you've just experienced.
Like "The Sweet Hereafter," this picture revolves around the investigation of a fatal accident in a small town, as well as the shattered lives of those involved. Unlike that excellent Atom Egoyan film, however, the damage here was done long before the accidental death.
As such, the investigation into the incident is more superficial than structurally sound, and becomes more symbolic of the story's deeper exploration into the protagonist's already ruined and progressively unraveling life.
That structure may bother some murder mystery oriented viewers, and I initially found myself somewhat frustrated by the slow-moving plot, the occasional and certainly unnecessary voice over narration (supplied by Willem Dafoe and clearly a lingering trace of material from the original novel), and the protagonist's rather lackluster investigation into the shooting.
Clearly not a satisfactory murder mystery story, or even a conventionally plotted movie at that, it's not until one realizes that the film isn't particularly interested in the shooting or the subsequent investigation (which is hinted at quite strongly by the odd and lackadaisical approach taken by every character regarding it), that one begins to appreciate the story.
To convincingly pull that off, however, one needs a cast of talented performers who can lure in the viewer with their believable performances. Fortunately for writer/director Paul Schrader (director of "American Gigolo," "Cat People" and the writer of "Raging Bull" and "The Mosquito Coast"), he's extracted/forced/encouraged what are probably the best performances from his two leading men in their long careers.
Toning down his stereotypical gruff and gravely voice and persona, Nick Nolte ("The Thin Red Line," an Oscar nominee for "The Prince of Tides"), delivers a powerful and shattering performance as a man desperately trying to grasp the last vestiges of his pride and sanity while continuing to slip ever deeper into despair and madness. With what should be another Oscar nominated performance (this review was written before the nomination announcements), Nolte proves (along with his strong role in "The Thin Red Line" and other earlier films) that he's an acting force with which to be reckoned.
The same holds true for James Coburn ("Eraser," "Our Man Flint"), who clearly delivers the best performance of his career that spans an amazing four decades. Always something of a cultish favorite, Coburn's never seemed to tackle extremely demanding parts, but this one certainly bucks that trend. By playing the near monstrous alcoholic father with such energy and believable meanspirited nastiness, Coburn may go down as having inhabited one of the most villainous cinematic creations to date.
The supporting performances are all decent, but despite their collective acting experience, neither Sissy Spacek ("Blast From the Past," "Coal Miner's Daughter") nor Willem Dafoe ("The English Patient," "Mississippi Burning") can climb their way out of the deep shadows cast by their more prominently seen co-stars and their exceptionally outstanding performances.
All of which leads to giving the film an artistic rating, which is nothing less than difficult when trying to balance the great acting with the bleak and unsavory aura that permeates the film. Much like our reaction to "Leaving Las Vegas," we can't give this film a tremendous rating simply because it's not very entertaining.
While there's clearly no law that says a film must cause some sort of favorable reaction among moviegoers, a bleak and depressing film -- especially one as powerful as this -- isn't that much "fun" to watch. Unless a picture is utterly brilliant and entertaining on different levels (like last year's "Saving Private Ryan"), it's hard to get too enthusiastic about a film and give it a high rating.
Nonetheless, considering the feeling one has several days after seeing this picture, and despite a murder mystery plot that's more bluff than realized potential, the film is quite good and features Oscar worthy performances from the leading cast members. As such, we give "Affliction" a 7.5 out of 10.