Product Details

• Amazon Sales Rank: #20385 in DVD
• Released on: 2001-03-26
• Rating: Suitable for 15 years and over
• Number of discs: 1
• Formats: Anamorphic, Full Screen, PAL, Widescreen
• Original language: English
• Subtitled in: English
• Number of discs: 1
• Running time: 160 minutes

Special Features
Wide Screen
DVD 5
English
Region 2
Dolby Digital 2.0 English
Dolby Digital 2.0
Documentary
Theatrical Trailer
English

Synopsis
A small Canadian town is torn apart by the appearance of an ambulance-chasing lawyer after a tragic accident involving a school bus killed many of the town's children. One key witness, however, eludes the troubled attorney: a gifted young woman confined by the tragedy to a wheelchair for the rest of her life. A morality play without the sermon from EXOTICA auteur Egoyan, based on the acclaimed novel by Russell Banks. Winner of the Grand Jury award at the 1997 Cannes Film Festival. Academy Award nominations: Best Director, Best Adapted Screenplay.

From the Back Cover
Nominated for two Academy Awards and starring acclaimed actor Ian Holm, "The Sweet Hereafter" is a truly powerful film, as deeply moving as it is gripping.

After a terrible school bus accident in a small town, a big-city lawyer arrives promising to win compensation for the townspeople. But this is no open and shut case. As he investigates the crash and its effects on the community, he begins to realise that there is more than one mystery and more than one tragedy hidden behind the small town's grief.

"The Sweet Hereafter" is brave, poignant and powerfully affecting cinema adapted from Russell Banks' best-selling novel by director Atom Egoyan ("Exotica").

Customer Reviews

A MULTI-FACETED GEM OF A AFILM...
This film is compelling in its storytelling, peeling back layer after layer of human emotion, until all that is left is that which is primal. Beautifully nuanced, if somewhat ponderously slow at times, this film is not for the action oriented viewer. It is a film for the more patient and discerning viewer, the one who will allow the story to unfold in its own good time. It is this viewer who will derive the most enjoyment from this cinematic gem.

The story is really several stories that are threaded into one tapestry of events. The main thread involves a school bus accident that resulted in the death of fourteen children in a small British Columbia town in Canada. A big, city slicker lawyer, Mitchell Stevens (Ian Holm), waltzes into town on the heels of the tragedy to see if a class action suit, arising out of the bus accident, lies against someone, anyone for huge monetary damages.

As Stevens interviews those prospective clients, his own troubles are revealed to the viewer and center around his drug addicted daughter, who deftly manipulates him. Scenes with his daughter, which suggest just how out of control his daughter's life is, correlate nicely to the way the lives of the townspeople have spun out of control since the bus accident that took so many young lives. Stevens is as bereft as the townspeople who have lost their children. The lawyer's feeling of guilt over his daughter's seemingly hopeless condition, miirror the hopelessness felt by the townspeople in light of the overwhelming tragedy that has befallen them.

The town has its secrets, however. One of them involves an attractive, and talented teenager, Nichole (Sarah Polley). When the viewer first sees her, with her is a long haired, seemingly supportive and tender man. For some inexplicable reason the viewer may take him for her boyfriend, even though all they are doing is eating ice cream, only to discover that he is actually her father. As does the lawyer, Nichole must contend with a very personal and secret tragedy in her young life.

The brief scene that makes clear the true nature of Nichole's relationship with her father is shown in a way that belies its inherent corruption. It seamlessly transitions its way into the film, and the viewer really has to think twice about that which the viewer has just seen, as the setting seems almost romantic, a setting that belies the profound putrescence of the reality of the scene.

The threads of the film's story are woven in such a way that time and scene shifts are somewhat abrupt and may seem a little disjointed to the viewer, which has the net effect of keeping the viewer a little off balance. The tenor of the film, however, is set to perfection by Nichole's monotone voice over reading of Robert Browning's lyrical poem, "The Pied Piper of Hamlin". Her reading gives the viewer a feeling of alienation and despair. It also leaves the viewer wondering whether the pied piper is an allusion to her father or the lawyer. Watch the film, and you be the judge.

Ian Holm, Sarah Polley, and this cast of mostly unknowns, give wonderful performances worthy of note, compelling and moving. The film, as does an onion, has many layers to be peeled back. It is a film to be savored and viewed again and again. "The Sweet Hereafter" is sweet, indeed.

Community versus the professionalisation of relationships
Immediately reminiscent of the Coens' "Fargo" from the opening scene, with the strange medieval music and the brilliant white of the snowscape, this is no black comic thriller, but a sensitive exploration, brilliantly performed, directed and filmed, of the very real consequences of bringing third parties into intimate human tragedies. For as long as we feel the need to have mediators to manage our feelings and "direct our anger", this film will make us think about what this means for our relationships with our fellow human beings.

The DVD is bare on extras, as sadly, I think the Momentum Pictures releases often are - outrageous in some ways considering the premium price, but then you pay for the film, not the "extras". It contains a badly made documentary interview with Egoyan which appears to have had no money thrown at it, full of pointless camera tricks, bad sound and no editorial thought. Thankfully it does get some interesting reflections out of the director, although one constantly feels that the producer of the doc has cut him short, and the interviewer forgot to ask specific questions about specific scenes in the film you've just seen.

Sweeping Emotional Landscapes
This is a powerful understated movie, with a moving performance by Ian Holm as the lawyer who tries to draw out the feelings of the small community that suffers a collective tragedy. It's beautiful photography and moments of pure emotional clarity, especially when Mitchell talks about his daughter when she was younger, make it stand out from the standard fare out there. A powerful, moving experience which lingers long after viewing and leaves open questions about justice and the true reality behind families and communities.