Home At The End Of The World, A

Synopsis: Nine-year-old Bobby Morrow (played as an adult by Colin Farrell) loses his beloved brother in an accident, and, following the death of his mother several years later, goes to live with schoolfriend Jonathan (Dallas Roberts), a nerdy young man on the outer, unsure which way his sexuality leans, and Jon's mother Alice (Sissy Spacek). By the time both boys are in their mid twenties Jonathan is leading the gay New York lifestyle, and sharing a flat with Clare (Robin Wright Penn). When Bobby leaves Cleveland and moves in with them a new notion of home and family is born.

Michael Cunningham, who scripted The Hours, is responsible for both the book on which this film is based, and its screenplay. Director Mayer confesses to being a person who himself created family out of friends and colleagues, and so is deeply connected to the concept that families don't have to necessarily be those of your birth. No doubt people will be polarised by this film - those who find it basically unbelievable that such a strange set-up could actually work, and those who are drawn along in the wake of the deeply moving performances and the notion that home and family can be whatever you want to make it. Still others may be perturbed by the very alternative view of sexuality - which certainly doesn't fall into any pre-conceived moulds.

Michael Mayer's film is impressive on several fronts, the first being the wonderful recreation visually of three distinct eras. We meet Bobby in 1967, when the hippy, free love, acid-dropping generation was at its apogee. Then his early friendship with Johnny enters the bad hairdo, dope-smoking 70s, and the film winds up in the punk scene of the early 80s. A fine choice of soundtrack including Jefferson Airplane, Dylan and Laura Nyro transports viewers seamlessly to each era. Ultimately, however, it's not about era, but about relationships; the overwhelming sadness and joy that they bring, and a deep sadness as well as an all-embracing warmth pervades many of the scenes.

I was very taken with the apt casting of the two young Bobbies, the teenage Andrew Chalmers being a particular good match for the looks of Farrell, and also possessing a potent charisma and child-likeness that is mirrored in the adult role. The best surprise is Farrell's terrific performance in a role so different from the machismo of Phone Booth or the debacle of Alexander. His ability to portray the boy/man, desperate for belonging, is matched with an uncommon tenderness and ease within his unusual sexuality.

Theatre actor Dallas Roberts, in his debut film, is perfect without ever being stereotyped in his "gayness" and Spacek  shows the maturity of her acting in portraying Alice over so many years. Robin Wright Penn brings great depth to Clare, a woman truly able to love two men.

There are many exceptionally moving scenes in this film, and it is to the script's credit that although it could have run the risk of becoming a bit "soapy", the film steers pretty well clear of this to give us something that is very unusual, warm and gratifying.

 

 

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