The late, sardonic entertainer W.C. Fields once gave the sage advice about never working with children or animals. He obviously knew that they could be disruptive, less than professional to work with, and were just as likely to upstage him at any given moment. The same advice could be applicable for filmmakers interested in telling the tale of a character that harms such little ones in any number of ways.
That's because most viewers -- while tolerable of pictures featuring monsters, vengeful ghosts, serial killers and such -- won't like or want to see movies about animal abusers or child molesters. Then there are the resultant cries and charges -- whether one has seen such an offering or not -- that will likely fly about regarding making such characters sympathetic just by portraying them on film (similar charges were leveled against 2003's "Monster").
Mostly likely aware of such cinematic landmines, writer Steven Fechter (who's adapted his own play of the same name) and co-writer/director Nicole Kassell (making her debut) have forged ahead with "The Woodsman," a flawed but still disturbing tale about a recently paroled child molester who can't control his pedophilic urges.
Despite a stunning performance by Kevin Bacon in the lead role, I just don't see this film catching on with any viewer demographic. Potential popularity and financial success aside, however, let's look at the film's artistic merits since, as Roger Ebert points out, such releases shouldn't be judged solely on what they're about, but rather how they tackle, express and delve into the material.
Despite the strong performances -- Bacon, who's somewhat playing the flip side of last year's "Mystic River," will likely receive various accolades and awards for his work -- it's in the latter category that the film stumbles a bit.
Most viewers likely understand how pedophiles operate, but they don't necessarily understand what makes them tick. Unfortunately, the filmmakers don't provide a lot of insight into such matters as they only present some superficial material (in the form of a therapist briefly asking some equally superficial questions to the protagonist) regarding this troubling issue.
What they do get is a compelling and troubling observation of such a person-cum-monster. Observing Bacon in the role is like watching a tiger in the wild studying its prey. By the time we get to know him, Walter's mind is already pre-programmed to respond to the sight of young girls in an instinctual fashion, much like any predator. Thankfully, he's never successful here, but we see his urges progressively building, causing us to worry that at any given moment he's going to lurch from the brush and strike.
Of course, tigers and other predators -- the film is named after the fairy tale character that cut open a wolf to spring Little Red Riding Hood from its stomach -- don't desperately want to change such habits and instincts. And that's where some viewers may have a problem with the film in showing the human side of such human monsters.
The filmmakers wisely and thankfully don't make Bacon's character completely sympathetic, but they do make him a bit more three-dimensional than your standard movie villain. I just kept wishing more depth and examination were present.
As well as a better script. While what's present works, it's mostly a pedestrian affair. It simply goes through the expected motions of introducing and establishing the character, setting up a love interest, showing his secret eventually being outed (and the standard response from all involved parties) and then his volcanic urges finally erupting (thankfully through another outlet than the dreaded expectation).
There are also various rough spots, including the brother-in-law character played by Benjamin Bratt ("Traffic," "Miss Congeniality") either stupidly or purposefully baiting on Walter regarding young girls and how they're provocatively dressed nowadays, knowing full well his checkered past. Granted, his character is a jerk (his longing for adultery serving that purpose, albeit in a clunky fashion), but since he's the protagonist's only "friend" (with a daughter in a pedophile's desirous age group), you'd think he'd know better.
Then there are the metaphors that 1) aren't remotely needed and 2) are just as clunky. When Walter meets a young girl in the park -- in what's otherwise some of the film's more powerful moments when it's revealed she's not oblivious to lecherous adult males -- there are all sorts of bird watching analogies (they don't mind you watching them as long as they know you won't hurt them, etc.) that are too thickly applied to the proceedings. We get the comparison, but the filmmakers smack us over the head with it, just like all of the underlying tales and themes of childhood abuse regarding other characters.
That includes the one played by Bacon's real-life wife Kyra Sedgwick ("Secondhand Lions," "Personal Velocity") who's rather good as a white trash coworker who falls for, then is repelled by and finally accepts the pedophile for who and what he is.
The character solidly played by Mos Def ("Monster's Ball," "Brown Sugar") thankfully doesn't have that same childhood catalyst, but his professional career brings about even more stories of such abuse (although one related and low-key narrative by him is a powerhouse moment). His investigation into such matters occasionally dumps him into the main story, but not enough to make his relationship with the protagonist as tenuous as it probably should have been.
David Alan Grier ("Return to Me," "3 Strikes") -- thankfully in calm mode -- and Eve ("XXX," the "Barbershop" films) as an antagonist, don't get much to do, but little Hannah Pilkes (making her debut) is decent as a troubled girl who falls into the predator's sights.
It's Bacon, however, who makes the film equally fascinating and repellant. While added insight into what makes his character tick would have been icing on the cake, his performance is nevertheless a standout and helps lift "The Woodsman" above its otherwise pedestrian if clearly disturbing trappings. Not remotely entertaining but certainly compelling if uncomfortable to watch, the film rates as a 6 out of 10.
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