The Safety of Objects Movie Review:


Is there an indie film in current release without a coma at its center? Both Gerrys are comatose in Gus Van Zant’s latest, as are all the characters populating “All the Real Girls.” Of course, Almodovar has two babes in Neverneverland in his highly regarded “Talk to Her,” while “Chaos” and “Open Hearts” feature one person each, but both of those re-emerge. That’s a lot of ‘comotosity’ on the indie circuit during the same month, don’t you think? Are screenplays flowing through the Internet causing this cosmic coincidence? With “The Safety of Objects” joining the parade, you have to wonder how many active roles will be available in the near future if this trend continues unabated.

Not to worry. The active roles in this film are fleshed-out very well by an all-star ensemble cast, featuring a stellar performance by a recently underused Glenn Close. Every cast member, from the smallest child to the most seasoned adult, shines under the direction of filmmaker Rose Troche. It’s a wonder she could keep track of all these folks, much less weave the tapestries of their overlapping stories into such a coherent piece of art. Dermot Mulroney is put to much better use here than in the tepid “About Schmidt,” as is Patricia Clarkson over the poorly realized “All the Real Girls.”

To the horror of Dawson and Joey, it’s none other than Pacey (Joshua Jackson) in the role of the comatose lad who is the backdrop behind the complex interactions between four suburban families. Not normal suburban families. More like the dysfunctional families of a glossier, “American Beauty”, or the newly admired “About Schmidt.” Although this film has a lot less sheen and polish than its studio sisters, it’s almost up to the quality of ‘Beauty’ while soaring right past the drab little ‘Schmidt’ on all levels. This film is dark; darkly hilarious, and darkly moving. It’s highly original, and the screenplay flat out works. The editing is extremely effective, creating a rhythm beyond Eminem’s wildest imagination.

The film starts with fabulous, innovative graphics during the opening credits, followed by a great song, while jumping from house to house, character to character at a rapid clip. This pace is dizzying and could not be maintained for long without making us as crazy as some of the film’s inhabitants. Fortunately, the speed of the editing becomes quite comfortable, while still advancing everyone’s story fast enough to keep all stories captivating.

And this film has captivating stories in spades. Talking dolls, boys with dolls, girls and boys, kids and sugar, voyeurs and ‘voyees’, tent lust, infidelity, adolescent touching, adults acting like adolescents, teens acting like teens, lawn boy lust, older women with younger men, job shoving, appliance destruction, family splits, banana splits, sibling rivalry, repressed guilt, self-realizations, lost children, mistaken custody, Goodwill tantrums, antiques on the road, musical backyards, musical neighbors, musical comatose musicians, cool guitars, walkie-talkies, radio contests, endurance coaching, mall life, shopping choices, rogue security guards contributing to neighborhood insecurities, popping brews in moving autos, auto sex, autoerotic sex, sex with dolls, insensitivity, sensitivity, hypersensitivity, breakfasts, bars, bars at breakfast, backyard barbecues, and letting go of the past while facing the future, to name just a few. After all has been revealed and with all characters ready for the next big thing, the film exits right on the money, leaving this observer sated and satisfied.

“The Safety of Objects” may have a B picture look, but it’s strictly first class in all other areas. Welcome to the neighborhood. You can move out anytime you like, but you can never leave.

T R Black

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