A FATHER'S LEGACY

US, 2020, 90 minutes, Colour.

Tobin Bell, Jason Mac, Rebecca Robles.

Directed by Jason Mac.

To say that this is a home invasion and hostage drama, which is actually true, does not do justice to the film or its themes.

This is a film which is usually categorised as a “faith-film”, produced for an audience of believers and churchgoers, with some hope that it will touch the hearts of those who do not believe. (Which is a difficulty for many audiences who do not share the faith of so many American audiences, automatically put off by any suggestion of explicit religion, the Bible, prayer, and reacting with a kind of passive-aggressive irksome response – which can be gauged by Googling some of the reactions to this film.)

Which, being said, enables a reviewer to talk about the film in itself. While it presupposes a sympathy towards faith and prayer in its audience, it is comparatively reticent in comparison with other films of its kind. There is a Bible. There is a reference to some verses. And, at the end, wonderful use of that most excellent poem-Psalm, The Lord is my Shepherd.

But, the film is also robust, an atmosphere of violence in the opening home invasion sequences and later when some thugs threaten the central character.

The important thing, however, is to focus on the central character, Billy, played with some dignity by Tobin Bell (who is probably best-known to many audiences, and to horror fans, for his role as Jigsaw in the Saw series). Here he is a benign man, older, having served in Vietnam, Silver Star, living alone and isolated. But, as his opening prayer indicates, lifting his eyes to the sky, he is ready for God to take him at any time.

Suddenly, a man with a gun invades his home. The man has been shot, is erratic in his behaviour, abusive, waving his gun, dominating Billy. But Billy tends his wounds, gives him something to eat, does not reveal his presence to the police.

As might be anticipated, most of the film will be the interaction between the two men, the gradual calming of Nick (who eventually reveals his name to Billy), their fishing together, sharing meals, each gradually enabling the other to reveal something of his life, mistakes and failings. And, each of them has a sad story to tell. While Billy tells his story verbally, the screenplay has some quick flashback indications to what has happened with Nick, the robbery, his wife and her pregnancy, faith and prayer, is discussing religion with a minister – negatively.

And, so, the week passes, and the discovery as thugs turn up to threaten Billy, that are property owner in the town wants Billy to sell him his land – with the threat of the thugs burning it down.

There is a dramatic confrontation and quite a dramatic trick in the screenplay which will disturb audiences as they watch it, are apprehensive, but then are calmed.

At times the screenplay is didactic, Billy instructing Nick, metaphors, stones rippling on the water and consequences. But the dialogue also shows the value of deeper conversation, empathetic listening, the encouragement to confession, self-revelation, the desire for forgiveness, some atonement and reconciliation. Which means that the film can be well used by churches, religious groups, discussions with families, younger audiences.

The film also shows that you can’t judge a screenwriter and director by the character of the character  they portray on screen. Jason Mac, longtime actor, has written the screenplay, has directed the film, and plays Nick.

A good example of a Faith-film.

1. Hostage drama? Home invasion? Shifting tone? Human drama, communication? Truth, confession, reconciliation? A faith drama?
2. The South Carolina setting, Billy’s house, isolated, the river? Visits to the town, parking, supermarket? The warehouse and the robbery? The musical score?
3. The faith dimension, the references to Scripture, the Psalms, The Lord is my Shepherd, belief in prayer? The loss of faith dimension, Billy and his life, his wife’s Bible, yet his initial openness to God and to finish his life? Nick, contemptuous of God and his wife’s prayer? The end, Bible texts, Nick and prayer?
4. The didactic aspect of the film, incorporated into Billy’s character, old, experience, learning from experience, metaphors, stones on water and ripples, instructing Nick, Nick’s initial reactions?
5. The opening, Billy, audience response to him, the old man, living alone, 46 years in the house, the gradual revelation of his story, service in Vietnam, the silver star, his marriage, infidelity, his wife unable to have children, Paulette and the birth of his son, immediate disappearance, his regrets, going to his room and writing the letter to his absent son? Work, isolation, making something of his life?
6. Nick, the intrusion, waving his gun, home invasion, mouthing threats, erratic behaviour? Billy’s response? The police arriving, questions, Billy seeing them off? Nick and the robbery, the glimpses of his past, at the warehouse, the security guard shooting him, memories of his wife, talking with the minister about faith? Billy tending his wounds? Breakfast? Billy and the hospitality, yet crusty?
7. The two men beginning to talk, difficulties with conversation, fishing, the meal, the arrival of the thugs and the threats about burning Billy’s house? Later coming, guns, confrontations with Billy, Nick emerging, the fight, the possibility for his shooting the intruder, taking the wallets and the threat to give their identities to the police?
8. The days passing, the two men together, Nick and his healing, memories of his wife, her pregnancy? The emergence of the theme of his father, absence, when Nick was six, unable to comprehend what his father did not choose him? The contrast with Billy, the loss of his son, Nick becoming something of a substitute, Nick’s initial reaction against this?
9. The discussions, each telling the truth about the past, sadness, regrets, the sharing? The effect on Nick, Billy and his moralising, didactic stories?
10. Nick, the decision to leave, the gun shot, his returning, the dramatic trick of the screenplay showing him shooting, in court, jail, the reaction of his wife? And the audience realising this was imagination? Is not shooting, his motivation?
11. Billy’s collapse, hospital, The Lord is my Shepherd, his dying?
12. Nick’s return, the visit from the son, the photo, the newspaper article, the son and his search for his father, Nick and his reassurance, giving him the Bible?
13. The range of father-son relationships emerging?
14. The value of talking and listening, listening as transforming, therapy? And the value of talk, examination of conscience, confession, some absolution, repentance into atonement? Choose to returning the money, the owner and his past difficulties in being forgiven, forgiving Nick, the return to his wife?