LEVITY

US, 2003, 100 minutes, Colour.
Billy Bob Thornton, Morgan Freeman, Holly Hunter, Kirsten Dunst.
Directed by Ed Solomon.

Levity is certainly not a film of levity. Perhaps it could well have been called Gravity. It was written and directed by Ed Solomon, a screenwriter in Hollywood whose films include Men in Black. Levity could not be more opposite to entertainment than Men in Black.

Billy Bob Thornton, in very serious mode, plays a convict released from jail after nineteen years' sentence for killing a boy. He has faced a photo of the boy every day in his cell and is determined to change his life and make reparation to the mother of the boy. Receiving a strange phone call, he encounters an enigmatic Preacher played by Morgan Freeman. This Preacher is the catalyst for Billy Bob Thornton's change of heart, working for charity, rediscovering some kind of God-language.

The other people he encounters are principally a rich young girl who comes to the soup kitchen, is a drug addict, and whom he helps to restore to her family. She is played by Kirsten Dunst. The other central character is the mother of the murdered boy, whom he follows. He becomes friends with her and only then revealing the truth. The mother is played by Holly Hunter. With such a strong ensemble cast and with serious writing by Solomon, this is a very serious look at human nature, good and evil, the possibility of forgiveness, atonement, reconciliation.

1. The significance of the title? The film lacking levity but very strong on gravity? The theme where the snow was thrown into the air and the possibility of it soaring? An image of Manuel's life and his future?

2. The anonymous city, the prison, the poorer districts, the soup kitchen, the club, apartments and streets, restaurants, police stations, hospitals? An authentic atmosphere? The moody musical score? The songs?

3. The film as an allegory of redemption? The importance of Manuel's having listed the experiences of committing a crime, of sin: acknowledging it, remorse, repayment, compensation, repeating the situation but making proper choices? As exemplified by Manuel's experience throughout the film?

4. The sense of reality - but the sense of fantasy, the murdered Abner in the photo on Manuel's wall, his continually appearing to Manuel, smiling, reassuring, challenging, accompanying? The importance of the flashback to the actual crime at the end of the film and Manuel's comments on how Abner seemed before he shot him, open to him, challenging him?
5. The serious tone of the film, its solemn pace, its demands on its audiences, emotional, psychological, moral and spiritual? The religious dimensions of the film and the discussion about God, presence and absence, sin and crime, repentance, atonement, the explicit discussions of redemption? The Bible stories, especially those told by the preacher in his lectures? His own spiritual advice to Manuel?

6. The voice-over, Manuel explaining to the audience what he did, the justice of his prison sentence, being there for life? His explanation of the steps? His being summoned to the parole board, his being told to leave the prison? The ironies of the woman's speech on the board, the man congratulating Manuel? His having to leave prison, his bewilderment, his walking against the crowd in the subway? Alone in the subway, the man bumping into him and apologising? Having to face a future?

7. His appearance, poverty, suitcase, his long hair? Meeting the black man in the street, the discussion of memories of prison? The man coming to ask him to participate in the crime, his refusal, the anger of the man?

8. Manuel wandering, the telephone ringing, his answering it, several times? The preacher wanting Dwayne? His going instead? Meeting the preacher, discussing the job? The clipboard and people signing in for the parking? His meeting the man with the keys, their discussion? His continuing with the job?

9. The discussions with the preacher, his lectures, the young people having to spend fifteen minutes listening to pay for their parking, then go to the club, the dancing, the drugs? Signing off? Manuel and his bewilderment? Meeting Sofia and her girlfriend? Having to take Sofia home and her not recognising what was happening? His later meeting with her, his reprimanding her, telling her she was a waste of space? His controlled anger about her waste of her life?

10. Manuel and his listening to the preacher, their discussions? The preacher and his wisdom especially about Manuel's reparation? The preacher himself, the FBI arriving with the photo, his saying that he had to go to a sick aunt? His asking Manuel to take over? Inspiring him with confidence? A strong character? His having to flee, the irony that he was the criminal in the picture? The aftermath and Billy and the kids reflecting on what he had done for them?

11. The kids, playing basketball? The developers moving in and pulling down the basketball rings? Their having to be in the centre? Better than working out in the woods? Their listening to Manuel? His telling them the truth about himself, the gradual friendship? Sofia coming in, laughing with the group, their accepting her? The irony that when Manuel moved on, he offered her the job, her lack of confidence, her accepting it? His encouraging her to improvise?

12. Adele, Manuel following her? His talking to her in the market, her suspicions? The second time, waiting for her, carrying the bags, her inviting him in? Their talking? Her listening, his ability to express himself except to tell her the truth? Her explanation of being the murdered boy's sister? Her troubles with her own son and his insolence, guns, going with the gang? The outing, the meals? The sexual encounter, his saying that he crossed the line but he shouldn't have? The preacher's response? Adele asking Manuel to try to persuade Abner not to use the guns? Abner's being shot, hospital, regrouping, pursuing the man who shot him, his escaping, his big talk about him leaving town? The group and their going after the man with the gun? Manuel and his writing the letter to Adele, telling her the truth? His going after Abner, trying to stop him, being shot? Waking up in hospital, Adele caring for him - but walking out of his life? Her going off with her son? Portrait of a woman who has had a difficult life, relationships, trying to bring up her son? The impact of her brother's death, of meeting Manuel?

13. Manuel and the scenes with Sofia, taking her home, in her house, her alcoholic mother? The former pop star? Her coming again to the centre, passing out, Manuel beginning to understand her, their talking together, friendship?

14. The work at the soup kitchen, the people, the preacher and his organising it, everybody participating, a real centre, Manuel and his participation?

15. Manuel going over the five steps in his letter to Adele, his having achieved them, the irony of his being able to save the younger Abner while killing the first?

16. The God-language of the film, the absence of God? Morality, moral justice and atonement? Spirituality going beyond morality, a spirituality of understanding and taking responsibility for one's actions, trying to make reparation, a deeper insight into life, being able to make better choices?