House of Sand and Fog

Hate to resort to clichés, but this was one of the most powerful and compelling movies I've seen. I'm sorry for those who got nothing from it. To me, it was an obvious allegory of the situation in Israel, with two aggrieved people(s) fighting over the same "house". Lester, I believe, represented the U.S., seeming to care for the welfare of one party but actually concerned solely with his own interests. In the end, he is ineffective in his attempt to broker a compromise, resulting, quite literally, in the slaughter of the innocents - a tragic fiasco in which no one wins, and all (including Lester/U.S.) lose. One of the rare instances when I wished I could have spoken to the author directly after seeing the film.

Amazing how seemingly small and insignificant events can quickly snowball to dramatically change the lives of those involved. This movie had my rapt attention from beginning to end and is one of the best films I've ever seen. No, it is not an uplifting tale that ties everything up in a nice little bow at the end for the audience but that is one of it's greatest assets. Life isn't always ice cream and teddy bears. Sometimes the cowboy doesn't ride off into the sunset and that's what makes this so compelling--the realism. It's not often that I find myself talking to the movie. Pleading with the characters and wanting to jump into the movie to resolve a conflict. If you don't have to reach for the Kleenex, test your carotid for a pulse.

This is one of those films that you start watching hopefully, get through reluctantly, hoping for a saving moment and a proper character or plot development at some point, and then by the time it ends you find yourself cursing at the script writer and director (and actors!) for subjecting you to such a waste of time and hope. At least that's what it felt like for me. It's not the dreary, depressive quality of it that bothered me; good tragic stories can be the most beautiful stories to tell, but tragedy does need some depth, some grounding in the emotional character of the protagonists, and this character has to come through powerfully to sustain the sadness, otherwise it's just overindulgence in emotions for its own sake, or just to show off how many crying, heartbroken expressions the actors can display. Tragedy doesn't have to feel plausible, or to 'make sense' rationally; but it has to feel *real*: the film has to build the premises for it, in a honest manner. I felt cheated by this film, because it pretends to be a sophisticated tale but ends up being no more than a melodramatic tearjerker. In fact, because the tragic development feels so fake and so overblown, this was probably the first film I watched that I thought would have benefited from a happier ending, where I usually find myself having the opposite reaction. But the only thing worse than a soppy over the top happy ending is an equally soppy over the top miserable ending. We do get bits of information in way of 'explanation' of each protagonist' behaviour and emotions, but they are just thrown there superficially, like data in a police report. There's just no nuance in letting them come to the fore. Each new harrowing development seems to be there only to test our patience - it all escalates from a stupid bureaucratic error into outright war, with the former Iranian colonel turning into a careless speculator and wife abuser, the kind sheriff suddenly turning into a psycho kidnapper who threatens the newcomers with deportation, the woman who lost her husband and her house turning suicidal in the most theatrical way, and the teenage son of the colonel turning into an improvised (and unsuccessful) Bruce Willis, in a moment that is probably the most outrageous injection of pointless distress. There are also individual elements that are particularly annoying, especially the flatness and rigidity of the character played by Ben Kingsley, more stereotype than really convincing (and his awfully caricatured accent and choice of phrases; no real Iranian would speak English like that, especially not when talking to his own family or much less praying...). It was not just the presence of Jennifer Connelly that reminded me of Requiem for a Dream - I hated that film too for the same reason. Everything is relentlessly thrown into utter hopelessness and disaster, but without enough psychological and narrative conviction to sustain that kind of development. It's such a pity, because with a finer, subtler treatment this could have indeed been a good film. You get a glimpse of that possibility at around the middle, before the roller-coaster of despair and destruction begins, so utterly unsubtle the paper thin structure of the film ends up buried under its weight. A classic case of aiming too high.

This movie is undoubtedly the best of many good ones in the past years. After watching it last night, it is still with me - the glorious scenery, the entire cast and of course, most of all Ben Kingsley. Ben Kingsley should have gotten the Academy Award for his performance. Not once did I find the actor behind the character he was playing. I have seen him in many movies, each of which he epitomizes and becomes a chameleon changing colors becoming whatever his roll calls for. The cinematography was beyond beautiful; indescribably glorious, breathtakingly exquisite in both the colors and movement. The story was believable, tragic yet it hit the right notes of a man who is determined to regain at least some of the stature he had left behind. I truly loved the line which was spoken in the Iranian tongue and then translated "If a wounded bird flies into your house, you must take in in and heal it." The words might not be exactly correct but the meaning is obvious and quite eloquent.

In a tragedy that only the likes of Sophocles or Shakespeare could recreate, the film House of Sand and Fog proves that some dreams really can't be shared. The American dream is shattered for Colonel Behrani and Kathy Nicolo in this movie of devastating beauty. It is a film about the relentless struggle between an Iranian man and a post-alcoholic over a small house near a Californian beach. When Kathy loses her house due to county error, Behrani buys it for the sake of money and self-pride. Their worlds clash when they realize there is no perfect solution to this mistake, ending with a shockingly tragic twist. The acting put forth in this film was nothing less of amazing. Ben Kinglsey, as always, played his role as if he was really in it, really showing us his point of view and displaying his need for the house. Jennifer Connely played her role beautifully as well, showing the inward spiral she was facing and how her depression finally took her over. The story was nearly flawless with a few money and law errors. However, the tragic themes of the film ring through nonetheless. With a little less than a superior performance from Ron Eldard, the film still had wonderful acting and brilliant film technique. Based on the best-selling novel by Andre Dubus III, director Vadim Perelman does an incredible job of staying true to the novel, and using a few Russian film techniques to give a sense of emotion. This type of film truly will tug at your heart and bring tears, yet will give a sense of appreciation for the human life.

This film is based on Andre Dubus III'S acclaimed novel "House of Sand and Fog". Dubus created a story of immense power about cultures and the gap between them, about human pain, about hope and ultimately about humanity and sometimes its tragic loss. Colonel Behrani (Sir Ben Kingsley) and his family, buy a house on the fictional area Pacific County, intending to ameliorate their lifestyle, as they have been banished from their home country, Iran. However, the previous owner of the house, a depressed young woman and recovering alcoholic, Kathy Lazaro (Jennifer Connelly), turns up and reclaims her property, which was taken from her because of a bureaucratic error. And when Kathy's boyfriend, Officer Lester Burdon (very effectively performed by Ron Eldard), a racist obsessed with the concept of justice decides to help her, all hell breaks loose. I cannot speak of the plot any further without spoiling it, so I will stop here. How can one tell a story and be more than a mere narrator? How can a book be adapted to film, without merely repeating what the book itself says? Not only does newcomer director Vadim Perelman answer this question, he gives us one of the best films of the past decade. Perelman doesn't waste a single detail. Everything is brought together to create an astonishing emotional impact. Like great directors such as Tarkovsky have done, Perelman approaches his every character and pierces through her/his soul. Every scene takes you deeper and deeper into the soul of the characters, without ever being slow moving or over descriptive. As for the performances, what can I say? Rarely if ever has a single performance moved me as much as Kingsley's. This gigantic actor delivers one of his best performances to date, he has immaculate control over every single aspect of his character, physically and emotionally. Connelly, one of the most talented actresses working today, is also breathtaking, creating a performance that is a quiet outburst of pain and regret. Shoreh Aghdashloo, portraying the most tragic character of the film (at least this is my view of her character), is heartbreaking. This is acting in its supreme form, I really don't think it gets better. She truly deserved an Oscar for this. Young Jonathan Ahdout is also excellent, we will definitely be seeing more of him in the future. However, I must warn you: If you are going to see this movie, prepare for an emotional breakdown. It is really one of the most devastating films of the past years and if you'd rather see a pleasant film, this isn't for you.

First of all, anyone who says that s/he didn't "get the point of this movie" needs to go back to watching movies produced solely by Jerry Brukheimer because the point could not be more apparent to anyone of any intelligence. House of Sand and Fog is a commentary on the cultural gap between American-born citizens and immigrants from war-ridden countries such as Iran. Unfortunately that gap is shown for what it is: wider than ever. The character of Kathy is portrayed brilliantly by Jennifer Connelly as an emotionally unstable young woman caught up in the turmoil of losing both her husband and her family's home within eight months of each other. Kathy ignorantly fails to realize that the house her dead father has left her brother and her is in jeopardy of being put up for auction due to unpaid taxes. Kathy comprehends, too late, that the thirty years it took her father to pay off their home has been in vain when it is sold to an Iranian family shortly after auction. Her character is pinned against Ben Kingsley's Colonel Behrani when Behrani buys Kathy's auctioned house in order to return his own family to a sense of stability. The audience is conflicted by its empathy for both character's need to satisfy his and her own pride in family and the preservation of his and her heritage. The catalyst for the two characters' conflict with each other is drawn from the supporting character of Officer Lester (Ron Eldard), a representation of the ignorance and lack of empathy some Americans feel towards people whose lives have led them to seek better ones in the United States. While Behrani's main motive is to protect his family and give it a sense of security, Lester puts his own selfish pleasures before the wellbeing of his own family. Behrani and Lester are complete opposites, Behrani clearly the nobler. It is clear why Kingsley chose to do this role: Kingsley's portrayal of an Iranian refugee is both superb and honest, not to mention Oscar-worthy. The film shows that there are greater sacrifices in this world than those materialistic in nature. Ironically many Americans might find that point hard to absorb, probably the reason why they are so quick to write off House of Sand and Fog as "one of the worst movies" they have ever seen. House of Sand and Fog is a film, not a movie. Those who give this film a thumbs down need to get a dictionary and distinguish the difference between the two terms. Andre Dubus III's novel has been done justice. Thumbs up.

source: House of Sand and Fog

How worthless is this movie? Let me count the ways... Characters: Ever character here is annoying, ugly (emotionally speaking), and/or just plain stupid, so you really don't care about any of them and frankly hope that they just all kill each other. I guess they are supposed to be "realistic" and "rounded," showing the warts that humans have, but they come off as unlikeable and unworthy of carrying a movie. Plot: The character's actions are uneven and irrational and seem driven merely by the writer's desire to further the plot. I didn't buy it for a second. Plus, the plot twists are predictable and hamfisted. Acting: Jennifer Connelly - she of the one facial expression - is perhaps the most overrated actress today. It seems like it's physically painful for her to show any emotion whatsoever. And Ron Eldard is a B-actor who is so consistently annoying that I don't think he's really even acting. Ben Kinsley is OK, but there's only so much you can do with this tripe.

Wow, what a great movie. It really does give you a hard kick in the pants to quit whining, talk things out, and to look at things from everyone's perspective in life's ups and downs. The good thing about the movie is at different points you will hate...and then like the characters. However,by the end, as you would have read from all the comments here- it is a collision course of tragic events which makes you sad for all parties involved. At the end of the day ,if you are angry at someone or some situation, this movie will grab you by the throat, not let go of you until the final quote, and ask you if it is all really worth it. This movie really is a must see. No excuses. Go see it! 10/10