As readers of my reviews know, I am violently repelled by stories of pedophilia. I rejected the movie Happiness simply because it tried to present a pedophile as a normal family man with special issues. But I am attracted by stories of people struggling to redeem themselves. The Woodsman starts from this stance, with someone who regrets the terrible things he's done and is simply trying to carve out a tiny niche for himself to exist, unnoticed, while he figures out if it's even possible to redeem himself.
It is Bacon's performance as Walter that makes this movie work. This is an interior film, without much action to propel it. The action that's there serves mostly to heighten interest in Walter's daily struggles with his demons and the fear that he might revert to his old behaviors. Bacon is pitch-perfect as a man who simultaneously needs to numb himself to certain of his feelings while allowing himself to feel shame and enough interest in others to get by. Bacon's entire being conveys Walter's inner torture, his face by turns blank and unfeeling, then in turmoil. As he alternately proclaims "I'm not a monster!" and asks "When will I be normal?" throughout the film, his entire body resonates with those conflicts.
When a romance opens Walter up a little, his pedophelic urges also wriggle out from his tight control. I found myself simultaneously rooting for him and distancing myself from him as his black urges got a stronger grip on him. The relief I felt at his epiphany in dealing with these feelings (with the assistance of a terrific performance from a young girl) made me realize I'd been barely breathing for about five minutes, so gripping were the performances. This is not to say that Walter's decision transforms him into a completely decent human being. In fact, the following scenes clearly show that Walter may never be completely likable. But they do indicate that he can elevate himself above the level of the piece of s**t his parole officer thinks he is.
Helping the film are fine supporting performances. Carlos (Benjamin Bratt), was believable a Walter's brother-in-law who was willing to help re-integrate Walter into the family because of the earlier loyalty Walter showed him. His forceful warning to Walter about not messing with Carlos' own daughter added a second dimension to Carlos, hinting at the effort it took for him to repay that loyalty. And as unlikely as it was for Walter to enter a relationship, even with a hard-as-nails woman like Vicki (Kyra Sedgewick, Bacon's real-life wife), I can attest from observation and experience that damaged people seek out damaged people to have relationships with. Their affection, while genuine, is unsentimental, as befits the bleak tone of the film. And Hanna Pilke, who plays Walter's potential prey, gives a brief but knockout performance.
Clearly, The Woodsman is not a film for everyone. It is bleak, unsentimental, and only mildly uplifting. But as compensation, you get a stellar performance of a man trying to turn around his life with the odds against him.
It is Bacon's performance as Walter that makes this movie work. This is an interior film, without much action to propel it. The action that's there serves mostly to heighten interest in Walter's daily struggles with his demons and the fear that he might revert to his old behaviors. Bacon is pitch-perfect as a man who simultaneously needs to numb himself to certain of his feelings while allowing himself to feel shame and enough interest in others to get by. Bacon's entire being conveys Walter's inner torture, his face by turns blank and unfeeling, then in turmoil. As he alternately proclaims "I'm not a monster!" and asks "When will I be normal?" throughout the film, his entire body resonates with those conflicts.
When a romance opens Walter up a little, his pedophelic urges also wriggle out from his tight control. I found myself simultaneously rooting for him and distancing myself from him as his black urges got a stronger grip on him. The relief I felt at his epiphany in dealing with these feelings (with the assistance of a terrific performance from a young girl) made me realize I'd been barely breathing for about five minutes, so gripping were the performances. This is not to say that Walter's decision transforms him into a completely decent human being. In fact, the following scenes clearly show that Walter may never be completely likable. But they do indicate that he can elevate himself above the level of the piece of s**t his parole officer thinks he is.
Helping the film are fine supporting performances. Carlos (Benjamin Bratt), was believable a Walter's brother-in-law who was willing to help re-integrate Walter into the family because of the earlier loyalty Walter showed him. His forceful warning to Walter about not messing with Carlos' own daughter added a second dimension to Carlos, hinting at the effort it took for him to repay that loyalty. And as unlikely as it was for Walter to enter a relationship, even with a hard-as-nails woman like Vicki (Kyra Sedgewick, Bacon's real-life wife), I can attest from observation and experience that damaged people seek out damaged people to have relationships with. Their affection, while genuine, is unsentimental, as befits the bleak tone of the film. And Hanna Pilke, who plays Walter's potential prey, gives a brief but knockout performance.
Clearly, The Woodsman is not a film for everyone. It is bleak, unsentimental, and only mildly uplifting. But as compensation, you get a stellar performance of a man trying to turn around his life with the odds against him.