Sarah (Kate Winslet) is a feminist. A a former member of the intelligentsia who came this close to getting a master’s in English (but quit before writing her dissertation, a telling sign of her character), with a man-ish figure, who has strong opinions on literature and used to avoid shaving her legs. She somehow entered into an obviously loveless marriage to a middle aged man named Richard. Richard (Gregg Edelman) works successfully in advertising by day, and is a porn site aficionado by night. Sarah and Richard have a daughter, Lucy, whom Sarah resents, and she feels like a prisoner in her house decorated by Pottery Barn, stuck in the suburbs. Brad (Patrick Wilson) is an overly handsome stay-at-home dad, studying for the bar (which he’s already failed twice). He knows he won’t pass again (he doesn’t even really want to be a lawyer), but to shut his extremely beautiful, and intelligent wife up (played by Jennifer Connelly), he feigns studying each night and will attempt to pass the test one final time. Being completely selfish, bored, and forced to spend copious amounts of time focusing solely on the entertainment of their children, the two fall into a lurid affair, cheating on their spouses and telling themselves that they make each other happy.

The subject matter will deter many. The explicit love affair is gritty, and realistic. Central acts focus on a pedophile sex-offender (a completely disturbing Jackie Earle Haley who was coaxed out of a thirteen year retirement for the role) who sparks controversy in the town as he’s released from prison and goes to live with his mother (the impeccable Phyllis Somerville). But the real ugliness of the story can be found in the main characters. They’re not bad people, but they let themselves do bad things, convincing themselves that’s it’s romantic, and beautiful. Sarah even pontificates on why Madame Bovary is no longer the pathetic character she seemed to be while Sarah was in grad school, but now sees her as a hero, a feminist, who fights for a better life.

I can’t commend Field enough for his directing savvy. His proudest moment can be found in a scene at the town pool, where sex-offender Ronnie manages to sneak in and ogle the children with his diving mask and snorkel. The tension Field manages to build is tremendous, making even the least involved viewer shift uncomfortably in his seat. He also manages to ask the question everyone wonders but no one will ask out loud: why is it having children makes you a so much less interesting adult?  As mentioned before, the subject matter is without a doubt mature, but investing in this film will pay out ten fold as you’re sucked into this world that could realistically happen in your neighborhood. This was, without a doubt, in the top five films of 2006.

4 out of 4 stars

Rottentomatoes: 81% – Cream of the Crop: 89%

Sarah is a feminist.  A a former bi-sexual activist, with a man-ish figure, who has strong opinions on literature and used to avoid shaving her legs.  She was tricked into marriage to a middle aged man named Richard by the thought of being rescued from her miserable life alone as a Starbucks worker.  She has a daughter, Lucy, whom she resents, and feels like a prisoner in her house decorated by Pottery Barn, stuck in the suburbs.  Brad is an overly handsome stay-at-home dad, studying for the bar (which he’s already failed twice).  He knows he won’t pass again (he doesn’t even really want to be a lawyer), but to shut his extremely beautiful, and intelligent wife up, he feigns studying each night and will attempt to pass the test one final time. Being completely selfish, bored, and forced to spend copious amounts of time focusing solely on the entertainment of their children, the two fall into a lurid affair, cheating on their spouses and telling themselves that they make each other happy.

The plot is far more detailed than that, but this is the springboard from which the rest of the story starts.  The beauty of this book is Perrotta’s ability to create a believable, and extremely entertaining world.  It’s rare that a book entertains me more than film, but while I was reading Little Children, I found myself preferring to lay on my couch and follow Brad and Sarah, instead of going to the theater.

The subject matter will deter many.  The explicit love affair is gritty, and realistic.  Central acts focus on a pedophile sex-offender who may or may not have murdered a little girl, and keeps showing up at the town pool to ‘cool off.’  But the real ugliness of the story can be found in the main characters.  They’re not bad people, but they let themselves do bad things, convincing themselves that’s it’s romantic, and beautiful.  Sarah even pontificates on why Madame Bovary is no longer the pathetic character she seemed to be while Sarah was in grad school, but now sees her as a hero, a feminist, who fights for a better life.

While the film Little Children is one of my favorites, I’d have to say the book is better than the film.  Todd Field did a tremendous job of adapting the book, taking all the material down to the length of a feature length film, but Perrotta enjoyed the luxury of being able to add subtle touches to the character and the plot that just adds to the experience, making the characters real.  I’d recommend this book to anyone not easily offended by adult subject matter (not to the extent of porn, but a good solid ‘R’ rating).

4 out of 4 stars

The story centers around lovers Frank (Nick Stahl) and Natalie (Marisa Tomei) and Frank’s parents Matt (Tom Wilkinson) Ruth (Sissy Spacek).  Frank is a successful college student, living with his parents during summer break.  He becomes involved with Natalie, the damaged-goods mother of two with serious baggage in the form of Richard (William Mapother), the ex-husband with anger issues.  While Matt and Ruth disapprove of the relationship because of the children involved, the age difference, and the threat Natalie poses to Frank’s education, they enjoy her company, and embrace her and her children into their family.

The story takes a turn for the worse, when altercation between Frank and Richard results in Frank’s death.  To make matters worse, incontinuity in Natalie’s statements to the police will probably result in an extremely short sentence for Richard.

In a lesser film, these events would be the climax and the conclusion of the film.  However, Field (thank your deity of choice that he moved beyond small, supporting roles in Tom Cruise movies) only uses them as a jumping off point, allowing the viewer to watch the characters break, evolve.  It’s the characters that drive this heartbreaking plot, and it’s gripping all the way.  In the Bedroom features landmark performances by Spacek and Wilkinson.  Oscar was a damn fool for ignoring them in favor of Adrien Brody and Nicole Kidman (damn it Oscar, when will you get your shit together?).

SPOILER ALERT – Read no further if you don’t want to know the ending.

The film fell under fire for being what appeared to be a moralistic tale of vigilante justice.  Well there’s a literal truth to that statement, those that feel that away about the film missed the point.  Field doesn’t allow the viewer to feel satisfaction, or moral superiority as revenge is carried out (if he had allowed this, it would have been as bad as Jody Foster’s The Brave One).  In the Bedroom is the story of normal people being pushed beyond their limits because of extraordinary circumstances, and cracking under the pressure.  It’s one terrific tragedy.

3.5 out of 4 stars

Rottentomatoes: 94% – Cream of the Crop: 90%

Sorry about the French subtitles.