DIRECTOR: Lenny Abrahamson LEAD CAST: Brie Larson, Jacob Tremblay, William H. Macy,
Joan Allen, Sean Bridgers, Megan Park & Tom McCamus SCREENWRITER: Emma Donoghue CINEMATOGRAPHER: Danny Cohen PRODUCER: Ed
Guiney EDITOR: Nathan Nugent MUSICAL DIRECTOR: Stephen Rennicks GENRE: Drama DISTRIBUTOR: A24 Films LOCATION: Canada, Ireland, UK RUNNING TIME: 118 minutes
Technical assessment:
4
Moral assessment: 3
CINEMA rating: V-14
Five-year-old Jack
(Jacob Tremblay) and his Ma (Brie Larson) are locked-up in a room. The two of
them have managed to live in the tiny little space. Ever since Jack’s birth,
their world has revolved inside the four corners of the room. Jack has never
seen the outside world—the small room is their only world. Everything seems to
be fine but little by little, Jack sees that something is terribly wrong in
their situation. As he is now five-years-old, her Ma tells him their real
story. How they got locked up there and how dangerous their situation is. His
Ma plans an escape plot so they can finally be freed. However, a more
complicated outside world awaits them, which both of them are not prepared to
face.
Room is a compelling, extra-ordinary film that
thrives on its simplicity and honesty. There is no special effect or suspenseful
scene, not even hysteria—just plain and simple play of emotion—real emotions,
so real as though one is watching a documentary. The real gem of the movie is
its actors who played their roles excellently well. Larson is able to deliver
such riveting performance, providing the needed combination of deep sadness,
tragic joy, and painful love. Tremblay is as impressive as he delivers a
natural performance giving playful innocence, intelligent curiosity and smart
ignorance. The director blends all the complicated gamut of emotions and the
gravity of the mother-son situation into a watchable narrative that flows just
naturally as it should, making the audience really involved in the unfolding of
the story.
The bond that is built
between Jack and Ma is the most arresting thread in the film’s narrative. Given
the complexities of their connection, still, love prevails. This is a clear
triumph of good versus evil. Amidst the apparent hopelessness and despair,
there is redemption for as long as there is love. The society may question the
decision of Jack’s Ma to contain him in a room instead of letting him go, but,
in the said scenario, it is only a mother’s love that could sustain such a
distressing situation. In spite of the inherent darkness of their past and
present, the two still manage to appreciate life and the world in general
because they have each other. They
sustain one another. Their love is a clear testament of the power of humanity
to transform lives, and even alter the world—all that is needed is a
heart. The world we create is the
kind of world we create in our hearts. Even in the four corners of a tiny room,
Jack’s Ma is able to make the world a great place for him. This kind of
humanity, the capacity to love and the mysteries that go with it is
God-ordained. It is through the manifestation of love that we see God at work.
Above all, Jack’s Ma chooses life over death and in that choice, she also
chooses love over hatred, and she makes those choices in the face of the
hardest consequences. For its sensitive theme that may be too much for the very
young, CINEMA recommends the film as appropriate only for viewers 14 years-old
and above.
