Ashes of Elmwood

Author(s): Brian (AZ)
Ashes of Elmwood

Directed by Sidney Lumet
Written by Brian Helgeland
Produced by Sidney Lumet, Sydney Pollack & Scott Rudin
Music by Carter Burwell

Main Cast

Don Cheadle (Sean Borland)
Ellen Burstyn (Elaine Elmwood)
Björk (Suzanne Elmwood)
Mira Sorvino (Kathleen Daemon)
Frank Langella (William Elmwood)
Phylicia Rashad (Caroline Borland)
Jim Caviezel (James Daemon)
Louis Gossett, Jr. (Oliver Borland)
Sally Kirkland (Jayne Pickford)

Tagline: “Loss Burns Eternal”

Synopsis:

25 years ago, Sean Borland was practically a third child for Elaine Elmwood. The son of her best friend and neighbor, Caroline, Sean would come over to Elaine’s house every day to play with her daughter, Suzanne, and to be babysat while Caroline and her husband, Oliver, were at work. When Suzanne and Sean were sixteen years of age, Elaine and her husband, William, were overjoyed to discover that the two were dating. This joy, however, would not last. When the young couple walked out of a date at the movies, Suzanne was abducted by an unidentified serial rapist. Sean witnessed this all, but was far too shocked and terrified to save his girlfriend. After a lengthy three-month investigation, Suzanne was presumed to be dead. Two years later, however, Suzanne was inexplicably found back on her mother and father’s doorstep. In a typical circumstance, this would mean overwhelming relief. However, it does not take long to notice that Suzanne was no longer herself. Not only was she covered in permanent scars and bruises, but she seemed to shudder at every moment—afraid of something; she would avoid people, and when she had to interact with another human, she would break down and scream. Most notably, however, she refused to speak a single word.

Their lives today are nothing like they were 25 years ago. Suzanne has been seeing psychoanalyst Jayne Pickford for years, and has made minimal, if any, progress. She still has not spoken since her return, and still attempts to avoid other people at all costs. Completely unable to support herself, Suzanne is still living with Elaine, who has since divorced William due to the stress of caring for their severely mentally disturbed daughter. William has virtually estranged himself from the family, and sees them only when he absolutely must. Caroline and Oliver still live next door, but Elaine has not said anything beyond “hi” to them since Suzanne’s disappearance. Elaine still faces intense grief, and blames Sean for not saving Suzanne when he had the opportunity. Because of the guilt Sean has suffered from since the incident, he became a Missing Persons Officer. Yet no matter how many lives he saves or abductors he captures, he simply cannot forgive himself.

This changes, however, on a seemingly normal Sunday morning. Elaine’s daughter, Kathleen, and her husband, James, awaken in their cozy suburban home unable to find their 11-year-old daughter, Christine. Grief stricken, Kathleen calls her mother and fears that their family is cursed. She reports the case to the Missing Persons Office, and one day later, the information about the case is on Sean Borland’s desk.

Sean informs his mother about the incident, and she firmly tells him that he must solve the case, so as to make repercussions with the Elmwoods, and because Kathleen is a member of the family she still holds dearly in her heart. Sean searches for over a month, but to no avail. However, at the last moment, he discovers a clue: a footprint. When he scans the print, the only information available is that he, whoever he may be, is believed to have kidnapped a fifteen-year-old girl twenty-five years ago. Sean’s only hope to solve the case is to delve into the mind of that once fifteen-year-old girl. She is the only person who knows who this man is. The only person who can solve the case. Her name is Suzanne Elmwood.

What the Press Would Say:

I was anxiously looking forward to seeing “Ashes of Elmwood” and being the first critic not to give it a glowing review. I was looking forward to calling the performances good-but-not-great, calling the script overly-depressing and stating that Sidney Lumet just doesn’t have it anymore. Unfortunately for me, “Ashes of Elmwood” is actually the polar opposite of each of those statements. It is the most powerful, moving film I have seen this millennium. I am simply dumbfounded at how one film can have such a lasting impression on me.

An ensemble piece, “Ashes of Elmwood”, as one can tell just by looking at the incredible cast list, is highly dependent on its actors. In addition to excellent supporting performances by Mira Sorvino, Frank Langella, Phylicia Rashad, Jim Caviezel, Louis Gossett, Jr. and Sally Kirkland, there are three that especially stick out. First: the elephant in the room that is Björk as Suzanne Elmwood. While I think all of us “Dancer in the Dark” fans knew that the Icelandic pop star would hit this performance out of the park, I don’t think anyone could have anticipated it being this good. Easily the most daring—and brilliant—casting decision of the year, Björk sheds any preconceived beliefs about her acting abilities and makes a character no one has ever seen before, and employs some of the most outlandish acting methods I’ve ever seen. If there’s one thing in this world that we know for certain, it’s that this 42-year-old sensation will be picking up an Academy Award for Best Supporting Actress. Ellen Burstyn, in her first major film role since her Oscar-nominated work in “Requiem for a Dream”, is equally remarkable as Elaine Elmwood, the grieving mother of a psychologically damaged pedophilia survivor (Björk). She gives the character a sense of understatement and dignity that a lesser actress more than likely would not have, and it couldn’t have been more beneficial for her. The end result is an honest, likable-but-flawed character that we couldn’t sympathize for more. If there’s a better performance by an actress in a leading role this year, I’d like to see it. And finally, Don Cheadle, who picked up a surprise Oscar win for his work in “The Bluest Eye” is almost certainly looking at statuette #2 for his work in “Ashes of Elmwood.” Portraying Sean Borland, a Missing Persons Officer with the guilt of not preventing an abduction most believe he could have stopped in his teen years, Cheadle beat out an endless parade of actors including Chiwetel Ejiofor, Russell Crowe, Leonardo DiCaprio and Matt Damon that lobbied vigorously for the part. And the fact that he was chosen is proof enough that the Academy needs to create a category for casting directors. His performance is nothing short of jaw-dropping. He brings a sense of ambiguity of the role—is he good? Is he evil? Are his intentions pure—rather than just trying to defend his character. The final impression was ingenious, to say the least.

Brian Helgeland, writer of 2003’s “Mystic River”, penned the script of this masterpiece. If the ensemble is rewarded (which it will be, if there’s any justice left in the world), Helgeland should and will be as well. I cannot recall the last time I’ve seen such a controversial, huge topic for a film be spawned from such a subtle, multi-layered script. Granted it may not fit the typical comedy route that Oscar tends to take in giving the Best Original Screenplay award, such unanimous backing from critics and peers alike should give Helgeland the statuette with no questions asked.

Sidney Lumet, arguably the director most overdue for an Oscar working today, deserves an honorary award just for being able to get such amazing performances out of his entire cast. The fact that he also managed to use camera angles and filmmaking techniques so refreshing and new—at 83, no less—makes me wonder why they even bother announcing other nominees in the Best Director category. His win is so locked and loaded, words cannot describe it.

Easily the best film of at least the past 2 or 3 years, “Ashes of Elmwood” is set to be a fierce contender in just about every category this Oscar season. The film features the best direction, writing and acting I’ve seen in ages. It is an emotionally turbulent, heartbreaking and unbelievably inspiring experience no one can possibly forget.

FYC:

Best Picture
Best Director (Sidney Lumet)
Best Actor (Don Cheadle)
Best Actress (Ellen Burstyn)
Best Supporting Actress (Björk)
Best Original Screenplay
Best Film Editing
Best Original Score
Best Original Song (“Backlash”, written, composed & performed by Björk)