Ordinary People




Maybe, finally, it was the best of you that you buried.

Who would've thought that a pretty boy like Redford could put out such a heartbreaking work?

The Jarrett household hasn't been the same ever since their eldest son was killed in a boating accident. Afterwards, Conrad (Timothy Hutton), the younger son, attempted to commit suicide because he was torn apart with guilt. We pick up with the family a little bit after Conrad is released from the hospital. Calvin (Donald Sutherland), the father, is trying to get things back to normalcy and encourages Conrad to see a psychiatrist (Judd Hirsch). But as things wear on, the rift between Conrad and his mother (Mary Tyler Moore) becomes even more apparent.

This film gets knocked regularly because it won several Oscars over Raging Bull. Whether or not that was warranted, this is a work of art in its own right. Adapted from Judith Guest's novel, Ordinary People paints an all too realistic tragedy. The dialogue is spot on, the performances fragile and honest and the direction wholly appropriate. Redford takes a minimalist approach, to the point where his direction perfectly blends with the story. And that is just what it needs. Redford knows where to shoot and how, which is pretty impressive for a debut.

While a lot of psychology is involved, it is of a less rigid style. It's certainly not the over-the-top psychobabble found in some other movies. Things continually develop as new layers and revelations are discovered. This "ordinary" family is extremely fertile ground for drama. The relationships between them are incredibly complex and painfully convincing. I'll leave the rest up to you.

While he won the award for supporting actor, Timothy Hutton is really the star of the show. He gives a knock out performance as Conrad, and it's too bad he hasn't done much else of merit. Donald Sutherland is excellent as well, though he doesn't get very much to work with until well into the third act. This film is often characterized by Mary Tyler Moore's cold yet completely sympathetic role, and she likewise gives a performance to remember. The rest of the casting was superb, but giving Moore (the typecast all American housewife) this part was a stroke of genius.

The Cannon in D Minor will never be the same to me. This is one of those rare and powerful dramas that gets it just right.



-The Gnome