Writer(s): Bruce Joel Rubin
Starring: Tim Robbins, Elizabeth Pena, Danny Aiello, and Matt Craven
Jacob’s Ladder came to my attention after seeing it in the midst of several “scariest movie of all time” lists. What interested me the most about it was that these recommendations came from message boards and internet forums, meaning it was actual “people” championing it, and not movie critics, who tend to rally around the same tired movies. When I came upon it a handful of times in about as many lists, that's when I knew I had to get my hands on it.
And you know what? The “scariest movie” talk is way off base, and is actually doing the movie a major disservice by focusing on the horror aspects, thus limiting the potential appeal for those uninterested in the genre. Because I’m going to be honest here: I didn’t find Jacob’s Ladder scary in the least. Sure, there are some brilliantly eerie sequences, as well as one effective jump scare that gave me a good startle, but there is so much more to it than just its excellently mysterious, foreboding atmosphere. And despite the fact it let me down in one way, it overpowered me in so many more that I have to admit that Jacob’s Ladder is damn near a masterpiece, and that is a word that I don’t take lightly.
It’s effective because, like the best of films, it manages to effortlessly elicit a wide range of emotions from the viewer; this is no doubt mainly due, in large part, to Adrian Lyne’s confident direction. It’s no wonder that test audiences found his original cut to be “overwhelming”, leading Lyne to excise approximately 20 minutes of footage, especially considering what’s left is still an emotionally-draining experience.
Tim Robbins plays Brian Singer, a Vietnam War veteran who struggles with PTSD. His manifests itself in the form of hallucinations, some of which are so lucid that he is unable to tell them from reality; thus, neither are we. From what we can gather, he had three sons with an ex-wife, and one of them was Macaulay Culkin (who is curiously uncredited; even keeping in mind that he would not become a star until later that year with the release of Home Alone, his part is quite an important one), who died after being struck by a car.
Following the divorce from his wife, he takes up residence with Jezzie (Elizabeth Pena), a woman with the patience of a saint; she calms him down and somehow manages to keep her cool the many times he loses his. She is lover and mother all rolled up into one, and it would not be even a slight exaggeration to suggest that he would be dead without her.
But his demonic visions become more frightening, and begin to occur with more frequency. Is this just normal PTSD, or was he the victim of a military experiment gone awry? To answer this question, he gets in touch with several members of his platoon, many of whom suffer in the same manner that he does. They agree to sue the military, for answers if nothing else, and even hire a sleazy attorney (is there another kind?) to take their case. Just as soon as it starts coming together, it falls apart—the attorney (none other than Jason Alexander) informs him that there’s no case, because he contacted the military, and no one by the name of Brian Singer ever served.
Then we weave from one twist to another, until it’s all tied up by an uncharacteristically poignant ending, that also simultaneously manages to tie up all loose ends. When it was over, my wife and I just stared at the screen for a few seconds, blankly watching the end credits start to roll, as we attempted to sort through our feelings, attempting to make sense of what we had just seen. Sure, we understood it in a purely mental way—nothing is really ambiguous, with a final shot that tells you, in no uncertain terms, what just happened—but the film wildly careens from living nightmare, to family drama, to gripping thriller, and back again so often, that you really don’t have much time to process anything until it’s over.
Now I didn’t want my introduction to scare horror fans away—if you are a fan of that particular genre (as I am), there’s enough nightmarish imagery to more than likely keep you entertained. But with the mysteriousness of its atmosphere, and the strength of its story, it will also appeal to most mystery and drama fans, as well. So let’s just summarize it up and say if you are a fan of movies in general, you just can’t go wrong by giving Jacob’s Ladder a shot. You may not like it as much as I did, but if you can let the story suck you in, I can guarantee you won’t be bored. And that’s more than I can say about a lot of the junk I see.
RECAP: Effectively blending traits from horror, drama, and mystery films, Jacob’s Ladder is a thoroughly engrossing film whose biggest strength lies in its storytelling; the fact it also has a lot to say about war, and the treatment of soldiers during wartime, adds another powerful layer to a film already teeming with emotional resonance. Tim Robbins’ performance is solid, while Adrian Lyne’s direction is assured. The foreboding atmosphere, as well as the perfectly-timed pace, ensures that the story never lags. Also of note are the amazing visual effects, done in camera and without post-production work, which have since become a staple in horror films. If you haven’t seen it, and can stomach the occasional bit of violence, you should really check it out.
RATING: 8.5/10
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