| ROCKWATER (Feature) Rating:  Director: Russell Rocheleau Producer: David Mauriello Writer: Russell Rocheleau Director of Photography: Russell Rocheleau Cast: Jeremiah Story, Rich Poulack, Leslie Arnott, Renee Story, John Porrell, Susan Cormier, Gary Newton Format: 16mm |
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Review by: Warren
Curry
5/12/02
Russell Rocheleau's debut feature, Rockwater, is a ferociously dark take on a familiar story: The confused, genuinely good person, who is imprisoned by a bleak, oppressive environment that wants to painfully break him/her down piece by piece. Rockwater is a difficult work, partly because it's apparent from the opening scene that none of the characters we meet will emerge from the film unscathed. Yet, while Rocheleau subjects his characters to abuse in one form or another, he also treats them with a certain amount of compassion. It's a daring mix that, while not entirely successful, is intriguing.
The film's central figure, Elias (Jeremiah Story), has decided to drop out of college, despite the fact that he is less than a year away from graduating. He moves back to his hometown to live with his Aunt, who has raised him since his mother committed suicide. Almost immediately upon setting foot back in town, Elias runs into an old friend named Teddy (Rich Poulack). The two exchange pleasantries and Teddy asks Elias to meet him later to discuss an important matter.
Elias gets settled into his Aunt Claire's (Leslie Arnott) house, and works at the motel the woman runs. Claire has a new boyfriend -- a "cowboy" from Texas named Dennis (John Porrell), but we soon learn that she is dealing with turmoil of her own, which manifest into drunken rages. When Elias and Teddy meet up again, Teddy retrieves a large quantity of cocaine from a "business" acquaintance, and he then tells Elias that if he can drive him to Montreal to make a deal, he will pay him a cool $5000. Elias agrees and the two hit the road, joined by Teddy's argumentative wife (who he is separated from), Beth (Renee Story).
The trip becomes an arduous journey that reaches a boiling point when Elias' car breaks down on a snow-covered path as they're attempting to cross the border. Elias enlists the help of a reclusive, older man, Rockwater (Gary Newton), who lives in the only house in the immediate area. Teddy, who's grown increasingly more paranoid and belligerent, pulls a gun on Rockwater and forces the man to be a prisoner in his own home.
The visual scheme of the film focuses on establishing environment, and what a distinct one it is. Shot in black and white, some of the footage possesses an ambient, documentary like quality that is intercut with the traditional narrative pieces (sort of like a more focused John Cassavettes). Visually, the film unfolds with an improvised feel, but the story never strays off path, even though the script is thin at times. There are also a handful of pretentious, forced, film school shots that hint at sophistication, but settle for just being disjointed. The flashback scenes involving Elias' mother are obvious and spell things out too explicitly.
The acting is often stiff, although Newton and Porrell acquit themselves nicely in their roles. Jeremiah Story has a big load to carry in the lead role, as his character has to often express himself silently, and he mainly gets the job done. He has a likeable, grounded demeanor, which helps the film immensely. Less successful is Poulack, although he physically captures Teddy's menace. Teddy has a bit of shading beneath the thuggish exterior, but Poulack's limitations prevent the character from growing beyond a cardboard caricature. One of the film's biggest missteps is its use of score -- it's too prevalent and some times is at odds with the emotional tone of the scenes. It works in a few transitional sequences, but is mostly a distraction
Rocheleau has a voice well worth hearing,
and this feels like a solid foundation to build on. He has a firm,
wise grasp on the darker end of the emotional spectrum and a few
moments in this film border on brilliant. I'm much more impressed
by the filmmaker as a director as opposed to a writer, and what
he needs is a screenplay that's breadth matches its depth. In
a feature (this clocks in at a lean 70 minutes), atmosphere can
only take you so far, and Rockwater, ultimately, runs out
of steam short of the finish line. There is a wealth of potential
waiting to be tapped into though, and that's what makes this film
well worth seeking out -- if only to witness the signs of greater
things to come.
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