It's not likely that many of you saw the 2004 film from Denmark BRØDRE, but for those of you that did, it was probably an unforgettable experience. The movie (translated as BROTHERS) starred two of Denmark's top actors, Ulrich Thomsen and Nikolaj Lie Kaas, both of whom have appeared in English-language films over the years, as well as Connie Nielsen, perhaps best known as the prince's lady love in GLADIATOR. It was a timely film about the toll that war takes on those left behind and on those who make it back. Today (or more specifically a year ago, since this American remake has been on the shelf for about a year), Irish director Jim Sheridan (MY LEFT FOOT, IN THE NAME OF THE FATHER, IN AMERICA) has taken the template of the original film and changed very little to make his movie an equally powerful work fueled by three tremendous lead performances from Tobey Maguire, Jake Gyllenhaal and Natalie Portman.
Maguire's Sam Cahill is a career military man, who is about to head back to the Middle East for his fourth tour of duty, leaving behind a wife, Grace (Portman), and two young daughters (gifted child actors Bailee Madison and Taylor Grace Geare). Just before he is sent into Afghanistan, his younger brother, Tommy (Gyllenhaal), is released from prison. Tommy seems genuinely rehabilitated, but that doesn't stop him from being an abrasive ass who drinks too much and picks fights with the brothers' parents (Sam Shepard and Mare Winningham). Shortly after his deployment, Sam's helicopter is shot down and word makes its way back to Grace that her husband is dead. Without needing to be asked, Tommy steps up and begins looking out for Grace and the kids, helping out around the house, babysitting while Grace lies in bed with severe depression, and just generally being more useful than he's been in years.
As you might suspect, Sam is not dead. He and another solider are being held captive and tortured by the Taliban, and Sam is forced to make a decision that would destroy most men, and it may eventually eat through the young captain's soul. Back home, Grace and Tommy predictably get closer and even share a regrettable kiss, but cooler heads prevail, and the moment simply serves to strengthen their commitment to making it through their loss. If the film has one giant flaw, it's that the entire film feels like it's building up to the time when Sam returns home, which is exactly what happens. He immediately starts dressing like a serial killer and loses his temper with an anticipated regularity, even accusing his wife of sleeping with his brother. These emotionally explosive scenes wouldn't work at all were it not for the caliber of actors on hand.
Maguire is nothing short of a wiry hand grenade after he returns home. In different hands, the film's more charged moments could have gone really wrong, but especially in the argument scenes between Maguire and Portman, there's something really special going on. There's a great deal of crying on at her end, but she adds small touches to grace that are expected and show a great sense of what works in a performance. Gyllenhaal is impressive for entirely different reasons. He glides along the divide between complete asshole and caring individual, and somehow manages to pull both versions of Tommy off seamlessly. He's actually the greatest source of tension release for most of Brothers, and he's as convincing as Maguire, but in very different ways.
There's not a whole lot more to say about Sheridan's version of BROTHERS. I like some of the small alterations by screenwriter David Benioff, but there are a few I didn't like. Overall, it's a solid balancing act. Not one of the performances falters or registers as too amped up or too subdued, although I suspect most debate about this film will surround this aspect to BROTHERS. I'm not sure how many people are going to flock to a movie this heavy, but that's not my job. I remained thoroughly impressed all the way through this film for our times. This is a complex film dealing with countless emotional levels, and I think you'll really enjoy this offering.
