Ang Lee’s film of The Ice Storm adapts Rick Moody’s creative to the big screen. This 1973 period piece concerns two New England families immersed in the “Me Generation” to such a degree they can barely see each other. The Hoods, Ben (Kevin Kline) and Elena (Joan Allen), clothed lost get to with each other; Ben carries on an proceeding with neighbor Janey Carver (Sigourney Weaver) unbeknownst to her husband, Ben’s friend Jim (Jamey Sheridan). Young Paul Hood (Tobey Maguire) awkwardly pursues his votaries bedfellow Libbets Casey (Katie Holmes), while his 14-year-old sister Wendy experiments with both Carver brothers, Mikey (Elijah Wood) and Sandy (Adam Hann-Byrd). When a dominant ice storm strikes the region the same winter night, events conspire to deal a pitiable wake-up call to both families.
My first chance upon with The Ice Thunder-shower was in a theater where some audience members seemed to be expecting a Twister-style misfortune movie. Ang Lee’s rich portrait of dysfunctional kindred being is nothing of the quality, though it contains its share of emotional entourage wrecks. I enjoyed the film the first in days of yore I saw it, but found its steady pacing, nice impact and deep resonances even more rewarding on second viewing.
A outstanding performers imbues complex personalities with naturalism and character. Ben Hood’s jovial confidence masks deep uncertainties there his own morality, while Elena Hood yearns for fireworks she’s too diffident to essay. Girlish Wendy Hood’s sexuality is unsettling in its frankness and lack of emotion, less a blossoming flower than a creeping vine. Paul Hood provides a narrator’s voice to some scope, observing the similarities between his family elasticity and the adventures of Marvel Comics’ The Fantastic Four. The Carver forefathers operates less as a family than a collective, with little supervision or correspond with between its members. All of these characters are recognizably understanding and sympathetic, settle when their actions are less than admirable.
The titular Ice Typhoon is nicely realized, introducing a humanity-versus-nature situation to the narrative that at bottom reinforces its inner internal and interpersonal conflicts. And the 1970s context is more than window dressing—key plot points turn on voluptuous permissiveness and youthful hypnotic experimentation, as a swinging “key party” exposes weaknesses in the Hoods’ matrimony and Libbets’ tranquilizer overdose puts Paul Hood in a compromising position. Ang Lee again displays singular skill at adopting cinematic conventions without abandoning his own artistic intent (see Crouching Tiger, Hidden Dragon as another example). Here, he anchors the action in its era and atmosphere without resorting to gimmickry or cliché; in items, his “period” compare with is so successfully understated that the cover itself seems to compel ought to been made in 1973, rather than 1997.
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Carefully constructed, building its impact layer by layer with teeny-weeny in the way of formal determine, The Ice Tornado spends hint time with troubled people, sacrifice no easy answers but some degree of yearning. The message is comprehensive, and agreeably merit experiencing.