We Need to Talk About Kevin (2011)

Guest Blogger: John Grant, author of A Comprehensive Encyclopedia of Film Noir: The Essential Reference Guide, due on shelves at the end of October. Check out Noirish, John Grant’s noir blog that goes above and beyond the Encyclopedia.

In one sense a meditation on the roles of nature and nurture in the emergence of sociopathic individuals; in another an extraordinarily chilling depiction of the noir nightmare told with all the twisty nonlinearity expected of a neonoir.

All we know at first is that something dreadful has happened in the fairly recent past of solitary suburb-dweller Eva Khatchadourian (Swinton), something that causes neighbors to abuse her and even daub her house in red paint, something for which she feels such guilt that she suffers their torments in silence rather than retaliating in any way.

Slowly we piece together her earlier life with good-natured but insensitive husband Franklin (Reilly), their son Kevin (played successively by Duer, Newell and Miller) and their much younger daughter Celia (Gerasimovich). As a baby Kevin screams incessantly, so much so that Eva sometimes pauses beside roadworks so that the jackhammers, drowning the noise of her infant, give her some moments of precious respite. A slow developer, Kevin grows up with one seeming mission in life: to make his mother’s existence a misery. Periodically she snaps under his relentless pressure, on one occasion pushing him with such force that he breaks his arm—an offense which he covers up from others, ever thereafter using it as a means to blackmail her.

Around people other than his mother, notably his father, he’s a charming, affable, ordinary kid; whenever Eve tries to tell Franklin of her concerns he assumes she’s merely voicing her neuroses. Eva is the only one who knows what really happened to Celia’s gerbil, stuffed by the teenaged Kevin into the sink disposal unit, and to Celia’s eye, destroyed when Kevin poured sink-unblocker into it. The sole activity that seems to bring Kevin out of himself is archery; it is this activity that he will use to commit the hideous crime that lies at the heart of Eva’s nightmare.

Keep reading on NOIRISH!

Featuring rumpled PIs, shyster lawyers, corrupt politicians, double-crossers, femmes fatales, and, of course, losers who find themselves down on their luck yet again, film noir is a perennially popular cinematic genre. This extensive encyclopedia describes movies from noir’s earliest days – and even before, looking at some of noir’s ancestors in US and European cinema – as well as noir’s more recent offshoots, from neonoirs to erotic thrillers. Entries are arranged alphabetically, covering movies from all over the world – from every continent save Antarctica – with briefer details provided for several hundred additional movies within those entries. A copious appendix contains filmographies of prominent directors, actors, and writers.

With coverage of blockbusters and program fillers from Going Straight (US 1916) to Broken City (US 2013) via Nora Inu (Japan 1949), O Anthropos tou Trainou (Greece 1958), El Less Wal Kilab (Egypt 1962), Reportaje a la Muerte (Peru 1993), Zift (Bulgaria 2008), and thousands more, A Comprehensive Encyclopedia of Film Noir is an engrossing and essential reference work that should be on the shelves of every cinephile.

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About HLPAPG

Hal Leonard Performing Arts Publishing Group, the trade book division of Hal Leonard Corporations, publishes books on the performing arts under the imprints Hal Leonard Books, Backbeat Books, Amadeus Press, and Applause Theatre and Cinema Books.

Posted on October 23, 2013, in Film & TV and tagged , , , , , , , , . Bookmark the permalink. Leave a comment.

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