Over the last few years, war has become a popular theme in motion cinema. In an effort to show the emotional side- effects of fighting, films have presented nearly every viewpoint, both tragic and heroic. Consequentially, when it was announced that Lionsgate was releasing Brothers, I didn't pay much attention - until I saw the trailer.
Starring Tobey Maguire, Jake Gyllenhaal and Natalie Portman, the small independent film carries the same tone as 2005's Brokeback Mountain (a film that coincidently also stars Gyllenhaal). The somber feel and drab colors give the film an unmistakable indie feel, a strategy that works in its favor during the emotionally powerful scenes.
Natalie Portman, easily the most talented of the group, gives a near flawless performance as Grace, a mother and wife who finds herself in the middle of a heated brother feud. Her stylistic performance leaves nothing in the shadows as she outwardly exhibits a scene stealing performance full of raw emotion and unfaltering realism. When her husband is killed in battle Grace is forced to carry her family through the tragedy; Portman does the same with the film.
That isn't to say that Tobey Maguire or Jake Gyllenhaal were not effective in their roles; both were actually quite good. However, each carried their mishaps that didn't deter the movie much, but still serve as a worthy mention here.
For Maguire, his performance seems forced as he attempts to put on the tough guy mask while serving his fourth tour of duty. His intense facial expressions and macho tone never come off as real, making Captain Sam Cahill appear more as a stereotype than an actual person. About halfway through the movie, a girl sitting in front of me leaned over to her friend and asked 'That's the guy from Spiderman right?" Enough said.
Gyllenhaal, while not stellar, was the main male figure at home, taking over the 'fatherly' duties with the kids after his brother's unfortunate passing and giving the film some much needed comic relief. He begins the film as a rebel, just getting out of jail during its opening scene, and though his transformation is easily predictable, his path is an interesting one.
Still, his performance is often forced as he over-exerts his energy in an attempt to convey a good deal of emotion. Unlike Portman's ability to silently tell a story with her body movements, Gyllenhaal often exaggerates each movement, giving his character an immature, and often times annoying feel. He isn't a pleasant sight for much of the picture, and for an actor of his stature, it is a shame.
The developing relationship between Gyllenhaal and Portman marks a sudden change in the film as we see two people who find comfort in their connection to their recently departed family member. It appears more as a condolence than a sexually stimulated attraction; though the signs are there, it is fully exposed only momentarily in true visual format.
The fact that the entire story leans on such a miniscule moment in the film is a huge surprise, especially considering the amount of stuff going on elsewhere. But after further analysis, one will notice that the film doesn't solely revolve around their budding attraction. Instead, it is a strong mixture of several relationships, both physical and emotional, that keeps this film interesting. Without all of them, Brothers would have been a mild disappointment. With it, it is an emotional roller coaster ride through hell and back; one that should definitely be considered one of the year's most gripping, character centered films.
