Room is this year’s favourite amongst mainstream critics with four Oscar nominations and many other accolades, including a BAFTA for Brie Larson as Best Actor. It is a major film for both the Canadian and Irish film industries and it is proving immensely popular with its audiences – already established in IMDB’s Top 250 film entries. Its emotional power eventually worked for me but, surprisingly, in a relatively conventional way. I think I was expecting something quite harrowing but it came across as something different.
The narrative opens with Joy and her son Jack living in a small room as Jack’s fifth birthday approaches. It soon becomes apparent that they are prisoners in the room and that Jack was born there and has no experience of ‘the world outside’. I was quite surprised that Jack ‘escapes’ from ‘Room’ (as he calls it) and the remainder of the narrative deals with what happens to Jack and Joy when they are ‘outside’. I’m still thinking through how the two parts of the narrative fit together. I wonder what might happen if one part was considerably longer and the other shorter? But perhaps the narrative needs a balance between the two? Since the original novelist Emma Donoghue wrote the film script it’s reasonable to assume that the balance is correct but perhaps it depends on the audience? As a childless person, I was less interested in the ‘Room’ sequences than in the family melodrama that followed the release of Joy and Jack – although I think I recognise the interesting questions that the incarceration throws up about Jack’s development cut off from experience of everyday life. One of my viewing companions said how much she enjoyed the viewpoint of the child and it is certainly true that Jack Tremblay the young boy who plays ‘Jack’ gives a remarkable performance. Brie Larson as Joy is also good in what is a difficult role but for me the film picked up with the appearance of Joan Allen as Joy’s mother.
Director Lenny Abrahamson moves into the big league with this film. I didn’t see his previous film Frank, but I do wonder if something has changed with Room. I think I prefer his Irish films What Richard Did (2012) and Garage (2007). In all three films I feel a sense of distanced observation, even though difficult emotional situations are being explored. But in Room the approach just doesn’t seem to work quite as well as in the earlier films – perhaps there was some kind of subconscious attempt to be truer to the script – or perhaps young Jack is just too sympathetic a character? Thinking about Room some days after the screening, I also note that we never find out anything about the man who captures Joy. In the book I understand he is referred to as ‘Old Nick’. I didn’t think about this during the screening but making him a ‘non-human’ character is actually quite disturbing.
I did find the dialogue difficult to follow at times. Perhaps I was disorientated by having to sit in the circle of the Hebden Bridge Picture House (because the stalls have not recovered as yet from the flooding over Christmas). I’m usually much closer to the screen. At one point I thought that Jack referred to being “here in America”? There is actually nothing in the film to confirm that it is actually Toronto that is the location of the action. Yet this did seem to me to be a ‘Canadian film’. It seemed calmer, less frenetic than how I might expect a Hollywood version of the story to work out. I liked this – just as I liked the film overall. But I remain doubtful as to whether it is one of the handful of films that deserve honours and rewards (but then I don’t really value Oscars and BAFTAs – they seem simply commercially-driven celebrity events these days).