If your brother was married to Natalie Portman, and was presumed dead, what would you do?
Jake Gyllenhaal: Tommy Cahill
Natalie Portman: Grace Cahill
Tobey Maguire: Cpt. Sam Cahill
Clifton Collins Jr.: Major Cavazos
Bailiee Madison: Isabelle Cahill
Taylor Geare: Maggie Cahill
Sam Shepard: Hank Cahill
Mare Winningham: Elsie Cahill
Patrick Fleuger: Private Joe Willis
Carey Mulligan: Cassie Willis
Directed By: Jim Sheridan
Written By: David Benioff
Release Date: December 4, 2009
Running Time: 110 minutes
Rated R for language and some disturbing violent content.
Watching Jim Sheridan’s remake of Brothers is akin to being pulled in opposite directions from both arms by two people who have the same goal. In this case, what is yanking me from the right to the left is the conflict in my own mind. Brothers was originally a Danish film made merely 5 years ago by the wonderful filmmaker Susanne Bier. It was both penetrating and poignant. That was not too long ago, but now Sheridan has unleashed his own version of this moving tale. Technically, it is not a shot-for-shot remake, but it’s as close as any title can be without actually reaching that point. The differences are slight. The new Brothers has the same characters, the same dilemmas, and the same outcomes. The dialogue has not been immensely altered, and the cast approaches their roles in a fashion identical to first cast members.
When one has really prepared for a remake by seeing the original vision, the ultimate outlook of that party will almost certainly be different from those who are watching the remake without any knowledge of what was released before it. Experiences like Funny Games, an exact replica of the original by the same director, or The Omen, which followed its predecessor scene for scene, normally leave me torn. If I enjoyed the story initially, shouldn’t I enjoy the remake if it is largely the same? Yes and no. It’s a big topic, but some of the issues should be addressed, especially when judging Brothers. Sheridan’s take has been understandably Hollywood-ized, but what saves it from being a retread without any inventiveness is the extraordinary acting from Tobey Maguire, Jake Gyllenhaal, Natalie Portman, and every other component of the cast.
Brothers is also similar to the 1978 film Coming Home. I say similar because that is where the comparisons should end. Significant differences can be found in both stories. In this story Cpt. Sam Cahill (Tobey Maguire) is preparing to head over to Afghanistan for another mission. He is a dedicated and loyal soldier, but before he can leave, he must pick up his brother Tommy (Jake Gyllenhaal), who has just been released from prison. Tommy is not the reliable and hard-working male that Sam is, thus the reception from his family is a greeting with mixed emotions. As Tommy struggles to get back on his feet, Sam goes to the Middle East, and tragedy strikes when Sam’s helicopter goes down, and he is presumed dead. The news shocks everyone, including his wife Grace (Natalie Portman), his father Hank (Sam Shepard), and his mother Elsie (Mare Winningham). Tommy realizes that he needs learn some responsibility with his brother gone. His attitude begins to change, and so does the way he is viewed by his relatives.
He begins to develop a bond with Grace, who is stuck raising their two daughters, maintaining a job, and managing all the household duties. It turns out they become closer than they expected. Meanwhile, over seas, Sam is not dead, but alive and imprisoned by insurgents. He and another soldier are barely being kept alive underground. Eventually he is rescued, and returns home, but the husband, father, and son his family once knew has disappeared. What steps off the plane is a person that has been deeply scarred by the tortures of the Taliban. As he attempts to reintegrate himself into his normal life, he notices that the manner in which his wife and kids interact with Tommy is much more agreeable from before he departed. He does not hide his suspicions that Grace and Tommy have slept together, but the notion that this could have occurred eats away at him.
It may seem like I have revealed too much information about the plot, but I assure you, I have not ventured beyond anything that was not previously available in the trailer. The screenplay is quite competently written by David Benioff, but since little of it has strayed from the original, that should come as no surprise. Because the characters have moved from Denmark to the United States, the war sequences take on a whole new meaning. Middle East related films have not been very popular in America, but some have accused this of being too heavy-handed, which is unfair. Benioff and Sheridan did not unnecessarily add to the politics and opinions of war that was already present in the 2004 version. In fact, I admire how they tiptoed through that portion of the story, and avoided choosing a side. Whether the war is right or wrong is not the point. Sheridan might be guilty of some sugarcoating in comparison to Bier’s aim of realism, but that is a small gripe.
The only reasons Brothers is not completely dismissed are the meritorious performances from the skilled line-up. The fact that the faces here have a heightened level of notoriety than did those from the Danish film does indeed dampen the illusion of authenticity and gritty simplicity, but everyone steps up bat with a grand slam in their sights. The one who truly succeeds at this is Tobey Maguire, who some forget is an accomplished actor outside of the Spider-Man franchise. Regardless, this is easily his most commanding and absorbing turn to date. He is sensational as man that has been physically and psychologically wounded by war, and when it is time to rid himself of that pain, it seems impossible. The bottled-up frustrations are ignited by the possibility that his wife may have formed romantic connection to his brother.
Ulrich Thomsen assumed the role before, but Maguire raises the stakes, and transforms an eye-popping character transition into an explosive one. The subtle expressions, reactions, and glances supplement his rendering of the persona as well. Take the beginning dinner scene where Sam sits and observes Tommy and his father exchanging heated words. His unswerving demeanor must serve to mediate the argument. He honors Thomsen’s take without imitating it, and more importantly, Maguire looks the part. From his costume to the irreplaceable haircut, Tobey Maguire looks like a Marine. His tirade on the newly fixed kitchen in towards the end is amazing, and could be his ticket to an Academy Award nomination.
The role of Tommy is shaped as more of silent type of personality. Jake Gyllenhaal’s primary job is to shift from a brooding criminal to a respectable citizen. Gyllenhaal is made to resemble Nikolaj Lie Jaas, who originated the part, in almost every way. Gyllenhaal’s charm comes into play, which is a crucial aspect of his portrayal. The best compliment one can afford to him is his ability to establish chemistry with everyone in the cast because that is the key factor to Tommy. Gyllenhaal’s most memorable scenes are those with Sam Shepard, who is quite satisfactory as Hank Cahill, and conveys the requisite emotions in a genuine fashion. The only rather mediocre depiction is from Mare Winningham as Elsie Cahill, who is far from poor, but simply cannot match up to the stellar team alongside of her.
Like Gyllenhaal, Natalie Portman is also made to look exactly like Connie Nielsen, the woman who played this character previously. Nevertheless, Portman is simultaneously searing and gentle, comforting and affecting as Grace, a woman who is juggling some extremely impactful events in a short amount of time. Aside from the odd decision to have every character remind us how beautiful Portman is, Grace is a fully realized and central figure to the events. The weight of the titular relationship would not be as meaningful without her. Portman’s resume has been bumpy as of late, but she and Maguire are absolutely electrifying in Brothers ascending to heights that could have a serious influence on the future of their careers. Grace and Sam’s daughters, Isabelle and Maggie, are very cute, but both have no trouble holding their ground. Bailee Madison steals a climactic dinner sequence as Isabelle. She is a young one to watch.
While this is an improvement over Get Rich or Die Tryin’, Director Jim Sheridan does not equal the triumphs of films like In America or My Left Foot. Still, he has a gift for combining a serious atmosphere with humor. This is a more accessible drama in that multiple scenes are intended for laughs, which eases the tension in some areas. He does shine in a pair of moments that were exceptionally filmed. Before Sam heads to Afghanistan, we see a shot of him in front of the bathroom mirror. His back is squeaky clean, Grace enters and kisses it. When he returns, we see the same shot, only now his back is riddled with visible scars and pain. Brothers is saturated with this sort of symbolism. Due to Sheridan’s capable hands, viewing the story again causes one to appreciate the connotations of specific instances and the unveiled layers. Frederick Elmes infuses the picture with a vivid and stunning cinematography, and Thomas Newman’s score is guitar laden, but suitable, while U2’s “Winter” acts as a fantastic closing credits tune.
The noteworthy rule Brothers breaks is not forgetting to honor the original, but by forgetting to etch a clearly unique methodology. This will be perfectly acceptable for some, but after the dust settles, and it must stand the test of time, this will feel like a film that was simply made for American audiences who refuse to see a foreign offering with subtitles. This is unfortunate, but a reality. Brothers is an uncomplicated story, but a profound one. It is not just about war or a wife being faithful, but about dealing with guilt, what it means to be a brother, and having the strength to move on from some of our transgressions. Life does not tidy itself up and become a barrel of happiness. We must face these traumatic events, and adjust accordingly. Brothers manages to capture and communicate this message with superb acting and the absence of schmaltz or depression, which makes it well worth seeking out.
The 411: Many of my complaints about Brothers stems from the fact that it too closely resembles the original film, but I am content with my rating even by judging the film on its own merits. This is a good motion picture with great acting. Tobey Maguire, Jake Gyllenhaal, Natalie Portman, and a fantastic supporting cast raise this remake to a new level through touching and sometimes frightening turns. Director Jim Sheridan proves he is a man who has many talents, and his approach to this film, while not entirely original, is at least competent and confident. Look for Brothers to score numerous Oscar noms. If you only see this version and love it, that’s great, but you might want to check out the original film. You won’t be sorry.
