I really enjoyed this film. Some may not like the fact that there is very little "action" in the storyline, but the depth of most of the characters, as well as the way in which they interact, creates something beautiful. At the film's core is how each of the main characters deal with a self-defining "object" (or the loss of that "object").
Esther Gold (Glenn Close) has a life defined by her son Paul (Joshua Jackson) who was in a terrible wreck leaving him in a coma needing around the clock care. She feels safe in the role of martyr in which she has insulated herself to keep from dealing with the tragedy. Her daughter (Jessica Campbell) is dealing with the tragedy (and her secret about it) with her own object safety, starting with her role as the neglected one. Her other attachment, to brother's guitar, is driven both by her need to connect and her need to hide from guilt.
Annette Jennings (Patricia Clarkson) has a life defined by her children, neither of whom she can really control. One is a special needs child and the other, Samantha (Kristen Stewart) finds safety in rebellion, placing blame and being shocking and a smartass. Jennings is also dealing with the loss of her marriage and her relationship with Paul Gold (Esther's comatose son). She won't let herself be happy because she would have to lose the misery in which she has come to feel safe. In the end, she is forced to realize that she must let go of the misery to save herself and her children.
Jim Train (Dermot Mulroney) is defined by the success he has at work, and indeed the job itself. He has safety in his position as a successful breadwinner with the "perfect" family. When the loss of a promotion at work sends him reeling, it drives him to walk away from his job and his family's only income. He is the first to give up the safety of object, but it slowly drives him over the edge. Meanwhile, each of his family members are going through their own version of the safety of an object (s). Jim has to have a complete meltdown before seeing that being truly present for his family is his true safety.
Helen Christianson (Mary Kay Place) is defined by the loss of passion (excitement) in her life yet in some ways clings to the safety of the boring life that feels safe. She tries to bridge the gap by reaching out to her husband in any way she can, but he seems disinterested at best. When she finally makes the move to step from behind the safety of her circumstance, her husband suddenly becomes the man she desires and she realizes that her marriage is where she truly wants to be... not just the role that feels safe.
Finally, Randy (Timothy Olyphant) longs to again feel the safety of his role as big brother... the thing he lost when his brother died in the crash that disabled Paul Gold. During the film, he begins to see Samantha (called Sam) as the substitute he needs because she reminds him of his brother. Acting on this compulsion to regain his safety object, he kidnaps Sam. The lines of reality and desired reality blur sometimes as he strives to recreate his lost life. In the end though, he finally sees that the past cannot be recaptured, and he returns Sam home.
The Safety of Objects looks at a slice of life, as many of the characters are relatable. It reminds us all that there are things, people and/or circumstances where we find our safety... our coping mechanism... our comfort. Again, this is not a movie for those who require a plot-driven film. It is for those of us who find fascinating the look inside the people and lives that are so familiar.
Esther Gold (Glenn Close) has a life defined by her son Paul (Joshua Jackson) who was in a terrible wreck leaving him in a coma needing around the clock care. She feels safe in the role of martyr in which she has insulated herself to keep from dealing with the tragedy. Her daughter (Jessica Campbell) is dealing with the tragedy (and her secret about it) with her own object safety, starting with her role as the neglected one. Her other attachment, to brother's guitar, is driven both by her need to connect and her need to hide from guilt.
Annette Jennings (Patricia Clarkson) has a life defined by her children, neither of whom she can really control. One is a special needs child and the other, Samantha (Kristen Stewart) finds safety in rebellion, placing blame and being shocking and a smartass. Jennings is also dealing with the loss of her marriage and her relationship with Paul Gold (Esther's comatose son). She won't let herself be happy because she would have to lose the misery in which she has come to feel safe. In the end, she is forced to realize that she must let go of the misery to save herself and her children.
Jim Train (Dermot Mulroney) is defined by the success he has at work, and indeed the job itself. He has safety in his position as a successful breadwinner with the "perfect" family. When the loss of a promotion at work sends him reeling, it drives him to walk away from his job and his family's only income. He is the first to give up the safety of object, but it slowly drives him over the edge. Meanwhile, each of his family members are going through their own version of the safety of an object (s). Jim has to have a complete meltdown before seeing that being truly present for his family is his true safety.
Helen Christianson (Mary Kay Place) is defined by the loss of passion (excitement) in her life yet in some ways clings to the safety of the boring life that feels safe. She tries to bridge the gap by reaching out to her husband in any way she can, but he seems disinterested at best. When she finally makes the move to step from behind the safety of her circumstance, her husband suddenly becomes the man she desires and she realizes that her marriage is where she truly wants to be... not just the role that feels safe.
Finally, Randy (Timothy Olyphant) longs to again feel the safety of his role as big brother... the thing he lost when his brother died in the crash that disabled Paul Gold. During the film, he begins to see Samantha (called Sam) as the substitute he needs because she reminds him of his brother. Acting on this compulsion to regain his safety object, he kidnaps Sam. The lines of reality and desired reality blur sometimes as he strives to recreate his lost life. In the end though, he finally sees that the past cannot be recaptured, and he returns Sam home.
The Safety of Objects looks at a slice of life, as many of the characters are relatable. It reminds us all that there are things, people and/or circumstances where we find our safety... our coping mechanism... our comfort. Again, this is not a movie for those who require a plot-driven film. It is for those of us who find fascinating the look inside the people and lives that are so familiar.