Here's yet another film from the 80's that most people just don't know exists. This slow, picturesque (the loving shots of the Montana landscapes are breathtaking and reminded me of Costner's recent "Open Range", which also starred Robert Duval), and emotionally satisfying film is the perfect type of movie to watch late one night when you can't sleep or on a listless Sunday afternoon. Those in the right mood will be treated to a finely detailed and intimate look at the grief of one family and how they come back together after the youngest son accidentally shoots and kills the eldest son while hunting. The performances are all top notch and quietly nuanced. Glenn Close, Robert Duval, and Wilford Brimley are pitch perfect in their portrayals, as are all the supporting players and young actors. I especially liked how director Cain (who unfortunately hasn't directed anything of note since this except the first "Young Guns") gives us quiet little glimpses into everyone's personal grief. We don't just see how the death effects the younger brother or the parents, but also the confused middle sister, the wayward uncle, his crazy wife, and the dead teenager's girlfriend. What we essentially get here is the rural Mid-Western answer to "Ordinary People." There's also shades of David Lynch's "The Straight Story" in some of the stoic downhome Mid-West morality of the folks depicted here and also in the lovingly haunting shots of the farmland they inhabit. This is one of the better and more realistic "tear-jerkers" of the era, and a nice little find for you quality movie hunters out there.
17 Reviews
Great cast in an emotional film.
TOMASBBloodhound20 March 2008
Warning: Spoilers
The Stone Boy is an almost forgotten drama from the 1980s. Considering how many famous or soon to be famous people are in the film, one wonders how it could have been so overlooked. This is a slow, moody, but touching account of a tragedy that befalls a farm family. The film is more or less an indictment of Midwestern stoic values and suppression of emotion. The film will not be for all tastes, but anyone who can appreciate real human drama should like it OK.
In the early moments of the film, we see two brothers head off in the early morning hours to pick some peas and maybe shoot a duck or two if they're lucky. While climbing through a barbed wire fence, the gun accidentally discharges and the younger boy fatally shoots his older brother. These boys have apparently never taken a hunter safety course. The way for two men to properly go through a fence like this with one gun would be as follows: First man climbs through. Second man then passes him the gun through the fence. The first man then sets the gun down and helps the other through the fence. At no time should either man have his hands on both the gun and the fence.
Anyway, once his brother is killed, 12-yr-old Arnold regresses into his own world. He does not even run for help after his brother is shot. He simply goes ahead and picks the peas and tells his family about the accident later. At no point during the funeral or inquest does Arnold seem to show any regret or sorrow at all. His family seems to shun him. Perhaps they are even angry at him for killing his brother. An ornery uncle played by Frederick Forrest is outwardly upset with Arnold, even though the older brother's death allows him to hit on the kid's girlfriend. Arnold's parents don't seem to understand how to deal with their son. They really don't even try to talk to him. About the only person he can communicate with is his grandfather who is played in typical grandfatherly skill by Wilford Brimley. After a while, Arnold even moves in with the old timer.
Nothing seems to get Arnold to open up until he takes a bizarre road trip to Reno Nevada to inexplicably look up his uncle's ex-wife. Once he meets her, he begins to emerge from his shell after apologizing to her for breaking up her marriage by starting all of the family's turmoil with the accident. From here on, the film becomes a quick study in reconciliation and reawakening.
The acting is hauntingly distant in most cases. Robert Duvall and Glenn Close make the perfect stoic farm parents. Forrest is good, but maybe trying too hard to channel Paul Newman's performance in Hud. The cinematography is exceptional, too. If you like moody pictures about common folk, this one may be for you. Some even may be advised to bring some tissues. 8 of 10 stars.
The Hound.
In the early moments of the film, we see two brothers head off in the early morning hours to pick some peas and maybe shoot a duck or two if they're lucky. While climbing through a barbed wire fence, the gun accidentally discharges and the younger boy fatally shoots his older brother. These boys have apparently never taken a hunter safety course. The way for two men to properly go through a fence like this with one gun would be as follows: First man climbs through. Second man then passes him the gun through the fence. The first man then sets the gun down and helps the other through the fence. At no time should either man have his hands on both the gun and the fence.
Anyway, once his brother is killed, 12-yr-old Arnold regresses into his own world. He does not even run for help after his brother is shot. He simply goes ahead and picks the peas and tells his family about the accident later. At no point during the funeral or inquest does Arnold seem to show any regret or sorrow at all. His family seems to shun him. Perhaps they are even angry at him for killing his brother. An ornery uncle played by Frederick Forrest is outwardly upset with Arnold, even though the older brother's death allows him to hit on the kid's girlfriend. Arnold's parents don't seem to understand how to deal with their son. They really don't even try to talk to him. About the only person he can communicate with is his grandfather who is played in typical grandfatherly skill by Wilford Brimley. After a while, Arnold even moves in with the old timer.
Nothing seems to get Arnold to open up until he takes a bizarre road trip to Reno Nevada to inexplicably look up his uncle's ex-wife. Once he meets her, he begins to emerge from his shell after apologizing to her for breaking up her marriage by starting all of the family's turmoil with the accident. From here on, the film becomes a quick study in reconciliation and reawakening.
The acting is hauntingly distant in most cases. Robert Duvall and Glenn Close make the perfect stoic farm parents. Forrest is good, but maybe trying too hard to channel Paul Newman's performance in Hud. The cinematography is exceptional, too. If you like moody pictures about common folk, this one may be for you. Some even may be advised to bring some tissues. 8 of 10 stars.
The Hound.
Very interesting (but slow moving).
srmccarthy18 February 2001
12 year old Arnald Hillerman accidentally kills his older brother Eugene. His feelings are arrested by the fact that his family can not interact with him (or feel it is not the right thing to do). His ONLY refuge is his grandfather, who is the ONLY one who seems to have compassion on him. The Realism will captivate "true-2-life" movie lovers, but will not satisfy those that desire action & thrills.
Powerful, Moving, Compassionate Film
jdrew17 July 2002
The Stone Boy is a tragedy of Midwestern stoicism in the face of inconsolable grief. Arnold accidentally shoots his brother and is frozen out by his family, with the exception of his grandfather. The process for everyone is painful to watch, but handled very quietly. I was very reminded of Tender Mercies, another great Robert Duvall film. It is drama at its best and a film I recommend highly.
Little-known film worth remembering
lightninboy24 April 2005
This movie probably never made a blip on the radar screen, but it's got quite a bit of quality. It's pretty lifelike, yet you think "It's only a movie." Duvall and Close portray common people, and you'd never even realize they are now big-name actors. It seems that the jerk in this story is a little too old to be chasing Eugene's girlfriend, but I guess it's possible. It seems unlikely that the kid would travel from Montana to Nevada by himself, but I guess it's possible. You might think that the family troubles in this movie would never happen in your own family, but I guess it's possible. I remember Glenn Close saying something like "You think the work you do is the hardest part of your life, but it isn't."
Sensitive story with a prodigy young actor
Atreyu_II21 November 2011
This American rural drama about a young boy who accidentally shoots his older brother deserves to be better known. Unfortunately it isn't perfect but, despite its flaws, when it's good it's really good. Beautifully filmed and photographed, with gorgeous rural landscapes and settings. The soundtrack by James Horner is very moving and matches the movie's dramatic mood.
Jasson Presson steals the show as the title character, in a far superior and more remarkable role than his role in the flawed hit 'Explorers'. Not that there is anything wrong with his performance in the famous 1985 film, it's just that here is another league.
This movie shows very well that not everyone suffers the same way. Each has their own way of suffering. Some act funny but that doesn't mean that they really mean that. In tragic circumstances, it's actually normal to act a little crazy. That's the case of our Arnold, who is seemingly indifferent to the tragedy he unintentionally caused, but in reality is suffering so much that he takes time to really let it out.
Some scenes shouldn't be here. I think the movie takes too long focusing on Arnold's family's own problems when Arnold himself should be the focus. Also, there are a few severe scenes to watch, such as family's discussions and one girl yelling at Arnold and slapping him.
Jasson Presson steals the show as the title character, in a far superior and more remarkable role than his role in the flawed hit 'Explorers'. Not that there is anything wrong with his performance in the famous 1985 film, it's just that here is another league.
This movie shows very well that not everyone suffers the same way. Each has their own way of suffering. Some act funny but that doesn't mean that they really mean that. In tragic circumstances, it's actually normal to act a little crazy. That's the case of our Arnold, who is seemingly indifferent to the tragedy he unintentionally caused, but in reality is suffering so much that he takes time to really let it out.
Some scenes shouldn't be here. I think the movie takes too long focusing on Arnold's family's own problems when Arnold himself should be the focus. Also, there are a few severe scenes to watch, such as family's discussions and one girl yelling at Arnold and slapping him.
Erratic but it conquers viewers with some heartfelt moments
Rodrigo_Amaro15 April 2024
On a superficial level "The Stone Boy" could be seen almost as "Ordinary People" but on a rural setting. Trade the accidental drowning for a
hunting accident but again we have an exemplary older brother dying and leaving a younger one feeling the pains of it all, and again each member of
the family tries to cope with themselves during grief and afterwards. Extend the number of family members, add a series of situations, and remove
the shrink character and you have a confusing and emotionally drained film that somehow hits some right notes. You can learn from it, specially if
paying attention to all the mistakes the characters make throughout the picture.
Jason Presson is Arnold, the boy from the title, and he enters into a very withdrawn and quiet mode after accidentally shooting his older brother during a duck hunting. Then we have the parents, where the mother (Glenn Close) tries to console him in her careful way as the father (Robert Duvall) just avoids him, prefering to leave the boy spend some time with his grandfather (Wilford Brimley). The little sister facing her early teens is unimportant, for them and for us as we don't get to see any personal crisis of hers. And if those folks weren't enough, there's the uncle (Frederic Forrest), who cheates on his pregnant wife while consoling the dead man's girlfriend and he blames the infidelity on poor Arnold.
Lots of people around yet Arnold's is all alone. It's no mystery why he doesn't talk much with anyone or even why it takes some time before he finally break down and cry. The hardness of that rural environment keeps everybody at a certain sense of composure that they have to endure everything. Everybody's all emotional unavailable except when there's some conflict involved, and deep down they would leave that house, that town and go find themselves somewhere else, apart from everything and everyone they know. They can't find ways of dealing with themselves.
But there's some comfort. The best scenes of "The Stone Boy" revolved on Arnold and his grandfather. Most people see those things happening in reality and most movies as well, about the generational arc that skips the parents and unites the oldest with the youngest in amazing ways.
They connect just fine and that's where you see the most tender and most comprehensive parts of the story where you end up caring for them, and ignoring everyone else. The duo can count on each other while the rest are trying and failing to keep a family together. It gets to such a critical point that a total stranger (Linda Hamilton) becomes a helpful listener to Arnold's pain - best scene in the movie, I think.
It's not much of a heartwarming film, neither a painfully depressive one. It swings between those modes but not entirely to the point of causing some pain or bringing some tears - the characters are so detached at times that for a while you're not invested on them. I brought "Ordinary People" to the discussion for a reason, specially if we consider the one character who tried to mend things for the depressed teen yet there's none similar in here: the psychatrist. Obvious that Arnold's case should be accompanied by a therapist, even someone in the field should attend his questioning by the police (a terrible scene that might look unbelievable to some). How on earth those parents feel they can solve everything with distancing and controlling/supression of emotions. It happens, I know, and perhaps one of the reasons the film doesn't flunk is because seeing a different and unusual perspective one can see the validation (or not) of those parents approach in dealing with grief, loss and getting back to some normalcy.
A fine cast was assembled by Christopher Cain, with some nice performances but seeing young Presson and veteran Brimley together was one of those sparkling moments that elevated the film's quality to a memorable degree. I might forget the picture, but I won't forget their scenes. 6/10.
Jason Presson is Arnold, the boy from the title, and he enters into a very withdrawn and quiet mode after accidentally shooting his older brother during a duck hunting. Then we have the parents, where the mother (Glenn Close) tries to console him in her careful way as the father (Robert Duvall) just avoids him, prefering to leave the boy spend some time with his grandfather (Wilford Brimley). The little sister facing her early teens is unimportant, for them and for us as we don't get to see any personal crisis of hers. And if those folks weren't enough, there's the uncle (Frederic Forrest), who cheates on his pregnant wife while consoling the dead man's girlfriend and he blames the infidelity on poor Arnold.
Lots of people around yet Arnold's is all alone. It's no mystery why he doesn't talk much with anyone or even why it takes some time before he finally break down and cry. The hardness of that rural environment keeps everybody at a certain sense of composure that they have to endure everything. Everybody's all emotional unavailable except when there's some conflict involved, and deep down they would leave that house, that town and go find themselves somewhere else, apart from everything and everyone they know. They can't find ways of dealing with themselves.
But there's some comfort. The best scenes of "The Stone Boy" revolved on Arnold and his grandfather. Most people see those things happening in reality and most movies as well, about the generational arc that skips the parents and unites the oldest with the youngest in amazing ways.
They connect just fine and that's where you see the most tender and most comprehensive parts of the story where you end up caring for them, and ignoring everyone else. The duo can count on each other while the rest are trying and failing to keep a family together. It gets to such a critical point that a total stranger (Linda Hamilton) becomes a helpful listener to Arnold's pain - best scene in the movie, I think.
It's not much of a heartwarming film, neither a painfully depressive one. It swings between those modes but not entirely to the point of causing some pain or bringing some tears - the characters are so detached at times that for a while you're not invested on them. I brought "Ordinary People" to the discussion for a reason, specially if we consider the one character who tried to mend things for the depressed teen yet there's none similar in here: the psychatrist. Obvious that Arnold's case should be accompanied by a therapist, even someone in the field should attend his questioning by the police (a terrible scene that might look unbelievable to some). How on earth those parents feel they can solve everything with distancing and controlling/supression of emotions. It happens, I know, and perhaps one of the reasons the film doesn't flunk is because seeing a different and unusual perspective one can see the validation (or not) of those parents approach in dealing with grief, loss and getting back to some normalcy.
A fine cast was assembled by Christopher Cain, with some nice performances but seeing young Presson and veteran Brimley together was one of those sparkling moments that elevated the film's quality to a memorable degree. I might forget the picture, but I won't forget their scenes. 6/10.
The day this family fell apart.
mark.waltz30 August 2022
Warning: Spoilers
1984 was the year that farmers nearly dominated the movies with films like "Places in the Heart", "Country" and "The River" getting Oscar love for their leading ladies Sally Field, Jessica Lange and Sissy Spacek. Rising up to her third consecutive Oscar nomination this year for "The Natural", Glenn Close played the grieving wife of Robert Duvall, dealing with the accidental shooting death of their older son Dean Cain after the gun held by younger son Jason Presson accidentally went off. Shocked by what happened, Presson went about his chores (picking peas) before returning home to tell his family what happened.
The film should have focused on the trauma of the immediate family (which includes Close's understanding father, Wilford Brimley) but has a subplot involving Close's unhappy brother (Frederic Forrest) that runs the film off track, especially when his wife (Gail Youngs) shows up at the farm and slaps young Presson for the trauma that the family has gone through. Duvall and Close have basically stopped speaking to their son (Close most reluctantly) which only strengthens the bond between him and his grandfather who is the only one who seems interested in giving him any attention.
As far off track this goes, it's still a well written drama about a family falling apart and doing little to heal the wounds. I wish Close had more to do. Her character only stands up to her husband after the film's been running an hour, and even as a grieving mother, her coldness to her son never seems real, as if a key scene ended up on the editing room floor. It's what she doesn't say that's supposed to give a viewer an indication of what she's dealing with. It was obviously too depressing a movie to pack em' in, a bit of a disappointment that could have been much better. Young Presson and Brimley are the only actors able to really develop well rounded characters based on the material seen in the final cut. The ending isn't the emotional conclusion that most people expected, but not every family issue is healed with bells and whistles and fireworks.
The film should have focused on the trauma of the immediate family (which includes Close's understanding father, Wilford Brimley) but has a subplot involving Close's unhappy brother (Frederic Forrest) that runs the film off track, especially when his wife (Gail Youngs) shows up at the farm and slaps young Presson for the trauma that the family has gone through. Duvall and Close have basically stopped speaking to their son (Close most reluctantly) which only strengthens the bond between him and his grandfather who is the only one who seems interested in giving him any attention.
As far off track this goes, it's still a well written drama about a family falling apart and doing little to heal the wounds. I wish Close had more to do. Her character only stands up to her husband after the film's been running an hour, and even as a grieving mother, her coldness to her son never seems real, as if a key scene ended up on the editing room floor. It's what she doesn't say that's supposed to give a viewer an indication of what she's dealing with. It was obviously too depressing a movie to pack em' in, a bit of a disappointment that could have been much better. Young Presson and Brimley are the only actors able to really develop well rounded characters based on the material seen in the final cut. The ending isn't the emotional conclusion that most people expected, but not every family issue is healed with bells and whistles and fireworks.
Very touching, unusual--May contain spoiler
jambos11 June 2002
Warning: Spoilers
I don't think a movie like this would be released today. It takes it's time to present the depth of the characters and the plot isn't full of twists and turns to keep you on the edge of your seat.
But, what this film does have: an interesting study in how families' deal with grief. How when the language for healing and over-coming tremendous loss leaves us mute, and we rely on raw emotions instead. Grief without reason and patience is anger, even hate. And unfortunately, the lead character (a young boy who accidently shoots and kills his brother while hunting) in the film is given more than his fair share of it. He eventually leaves and moves in with his grandfather (Wilford Brimley) who makes it clear to him that it WAS an accident. I got the impression that this young man knew that in his heart, but needed to hear those words from his parents, and to receive their forgiveness.
What I loved about this film: the lack of dialog. There was a tremendous emphasis on physical reaction, facial expressions. And the slower pace of the film allows you to really watch the reactions of the actors. Something we don't get to do alot of with today's films.
But, what this film does have: an interesting study in how families' deal with grief. How when the language for healing and over-coming tremendous loss leaves us mute, and we rely on raw emotions instead. Grief without reason and patience is anger, even hate. And unfortunately, the lead character (a young boy who accidently shoots and kills his brother while hunting) in the film is given more than his fair share of it. He eventually leaves and moves in with his grandfather (Wilford Brimley) who makes it clear to him that it WAS an accident. I got the impression that this young man knew that in his heart, but needed to hear those words from his parents, and to receive their forgiveness.
What I loved about this film: the lack of dialog. There was a tremendous emphasis on physical reaction, facial expressions. And the slower pace of the film allows you to really watch the reactions of the actors. Something we don't get to do alot of with today's films.
Interesting slice of rural America life
udar5524 April 2022
A family in rural Montana has their lives ripped apart after their youngest son Arnold (Jason Presson) accidentally shoots and kills his older brother Eugene (Dean Cain). The parents (Robert Duvall and Glenn Close) don't know exactly how to handle the situation afterwards as the boy seems to have no emotion about it, so it is up to his grandfather (Wilford Brimley) to help him make sense of it all.
This is perhaps as low key a drama as you could find. Director Christopher Cain (stepfather of Dean) allows for everything to unfold in a realistic fashion with nary an opportunity for over-the-top theatrics (Frederic Forrest does provide some as Close's brother). There is also a wonderful score by James Horner and beautiful cinematography by Juan Ruiz-Anchia. Presson is quite good as the lead and he would go on to be the kid no one can remember from Joe Dante's Explorers (1985). Linda Hamilton as has a small role as a lady the boy encounters on a bus. Duvall, Close and Brimley would also appear in The Natural released a month after this.
This is perhaps as low key a drama as you could find. Director Christopher Cain (stepfather of Dean) allows for everything to unfold in a realistic fashion with nary an opportunity for over-the-top theatrics (Frederic Forrest does provide some as Close's brother). There is also a wonderful score by James Horner and beautiful cinematography by Juan Ruiz-Anchia. Presson is quite good as the lead and he would go on to be the kid no one can remember from Joe Dante's Explorers (1985). Linda Hamilton as has a small role as a lady the boy encounters on a bus. Duvall, Close and Brimley would also appear in The Natural released a month after this.
Sealed-off from emotion...
moonspinner554 December 2008
Warning: Spoilers
Rural family drama--with perhaps a nod to "Ordinary People"--concerns a young boy who withdraws into himself after fatally wounding his older brother in a shooting mishap. Despite downbeat subject matter (given mercilessly glum treatment by director Christopher Cain), there are some dynamics in this sad story worth exploring. Unfortunately, the isolated farmland atmosphere and the reluctance of the adult characters to take charge of the situation render the movie a stultifying experience. What with Robert Duvall, Glenn Close and Wilford Brimley in the line-up, the picture is nearly a cast reunion of "The Natural". Too bad this project didn't get the necessary talent behind the camera to really eke out a gripping, memorable picture. *1/2 from ****
a quiet, realistic, well acted and written family drama
robertedward17 August 2003
I had seen this film way back in the 80's and had nearly forgotten it when I noticed it was on tv again and watched it. I remembered having liked this little sleeper when I first saw it, and I liked it even better on second viewing.
All of the actors, especially Robert Duvall, Glenn Close, Wilfred Brimley, Frederic Forrest, and Jason Presson (as the twelve-year-old boy who feels responsible for the accidental shooting death of his older brother), are superb. The film has a very genuine feel to it--an understated, quiet, deeply moving story of a family aching with grief. The dialogue is sparse but telling, and the nonverbal acting is outstanding. Sort of like a simpler, rural version of Ordinary People sans psychiatrist but equally impressive family dynamics.
The Stone Boy is well worth the time and emotional energy involved in watching it.
All of the actors, especially Robert Duvall, Glenn Close, Wilfred Brimley, Frederic Forrest, and Jason Presson (as the twelve-year-old boy who feels responsible for the accidental shooting death of his older brother), are superb. The film has a very genuine feel to it--an understated, quiet, deeply moving story of a family aching with grief. The dialogue is sparse but telling, and the nonverbal acting is outstanding. Sort of like a simpler, rural version of Ordinary People sans psychiatrist but equally impressive family dynamics.
The Stone Boy is well worth the time and emotional energy involved in watching it.
Well acted...and quite unpleasant
planktonrules12 October 2022
"The Stone Boy" is very well acted (after all, it stars the likes of Robert Duvall, Glynn Close and Wilfred Brimley)..however, it's far from being a crowd pleaser. This is because the film is extremely depressing and it's not the type film most folks would want to watch. This certainly would help to explain the film's horrendous box office return...and it was almost immediately pulled from theaters and placed on video.
The story is about a family's reaction to the accidental death of the oldest son. It seems he and his younger brother were going out hunting and the gun accidentally discharged...killing him instantly. But the reactions are not just the surviving son's but the entire family. It reveals that there were certainly some problems pre-existing in the family. The story has a very stark look with little incidental music.
Overall, an unpleasant film with some very fine acting...and it's a movie you might want to avoid if you are dealing with depression or family crises of your own.
By the way, if you are looking for a great film dealing with some similar themes, try "Ordinary People"...it's really a great, great film and really deserved the Oscar it received for Best Picture.
The story is about a family's reaction to the accidental death of the oldest son. It seems he and his younger brother were going out hunting and the gun accidentally discharged...killing him instantly. But the reactions are not just the surviving son's but the entire family. It reveals that there were certainly some problems pre-existing in the family. The story has a very stark look with little incidental music.
Overall, an unpleasant film with some very fine acting...and it's a movie you might want to avoid if you are dealing with depression or family crises of your own.
By the way, if you are looking for a great film dealing with some similar themes, try "Ordinary People"...it's really a great, great film and really deserved the Oscar it received for Best Picture.
Sometimes, I wish I could just wander away. I don't mean go buy a ticket, get on a bus. I just mean, wander away.
SteveSkafte23 February 2010
It's hard to say sometimes why exactly a film is so effective. From the moment I first came across "The Stone Boy", something told me it would be a great film. In spite of that, it seemed very unlikely that I'd ever have the opportunity to actually see it for myself. Then, one day, while looking through the online catalogue of my local library, I saw that they had recently purchased the DVD release of this film. Which I'm extremely glad for, because the cinematography is of a stunning depth and quality that an old VHS copy could never replicate.
And speaking of the cinematography, I must single it out as far and above the most stunning aspect of this film. As a photographer who pursues very nearly the exact visual style portrayed in "The Stone Boy", I'm a firm believer in the fact that a great cinematographer can almost single-handedly carry a film. Here, he has a lot of help from an extremely talented cast, and a director who understands perfectly what the story needs. But to have Juan Ruiz Anchía behind the camera makes virtually every scene something of beauty. And you can almost never say that. Most films would never even expect such a thing of you. Scene after scene captures some detail, some little bit of visual magic that takes your breath away.
The director, Christopher Cain, has had a long and interesting career. As far as I can gather, this film is not very representative of it. But, sometimes, to catch a director near the beginnings of his career, before all the big budgets and loss of focus, there's a real subtle magic to be found. Cain steps back in this film, lets things happen with a life of their own, and then ever further. Much like early John Sayles films, characters are given space to breathe, time to talk. Side stories happen because they do, and that's how life is. Cain displays a remarkable, raw, even outright painful understanding of human nature in this film.
The acting ties much of this story together. When people talk, when they exist in this film, they do so as actual people, not held back by the fact that they are playing characters. Gina Berriault's script allows immensely talented and respected actors like Wilford Brimley, Robert Duvall, Glenn Close, and Frederic Forrest to spend time simply existing. Whether the things they have to say are minor or of deep significance, it all comes down with the weight of pure reality.
When you look at the actors involved, or the great soundtrack by James Horner, it seems strange that such a film be very nearly forgotten. Maybe much of what makes "The Stone Boy" what it is was the time period it was made in. There's this 1970s hangover feeling to this picture that reminds me deeply of my own childhood. People talk of the 80s in terms of modern styles and music, but that's not the 80s I lived in or remember. The look of the images, the understated and dark knowing quality of the acting, and the overall result should get under the skin of any person who grew up in or near this era of time in rural North America. I see myself in this. I see how I saw the world. And a film like "The Stone Boy" sees the world for how it truly is.
For more of this feeling, please see:
The Black Stallion (1979), Never Cry Wolf (1983), Tender Mercies (1983), Testament (1983), Places in the Heart (1984), Matewan (1987), High Tide (1987), Driving Miss Daisy (1989), The Secret Garden (1993), The Secret of Roan Inish (1994), Wendy and Lucy (2008)
And speaking of the cinematography, I must single it out as far and above the most stunning aspect of this film. As a photographer who pursues very nearly the exact visual style portrayed in "The Stone Boy", I'm a firm believer in the fact that a great cinematographer can almost single-handedly carry a film. Here, he has a lot of help from an extremely talented cast, and a director who understands perfectly what the story needs. But to have Juan Ruiz Anchía behind the camera makes virtually every scene something of beauty. And you can almost never say that. Most films would never even expect such a thing of you. Scene after scene captures some detail, some little bit of visual magic that takes your breath away.
The director, Christopher Cain, has had a long and interesting career. As far as I can gather, this film is not very representative of it. But, sometimes, to catch a director near the beginnings of his career, before all the big budgets and loss of focus, there's a real subtle magic to be found. Cain steps back in this film, lets things happen with a life of their own, and then ever further. Much like early John Sayles films, characters are given space to breathe, time to talk. Side stories happen because they do, and that's how life is. Cain displays a remarkable, raw, even outright painful understanding of human nature in this film.
The acting ties much of this story together. When people talk, when they exist in this film, they do so as actual people, not held back by the fact that they are playing characters. Gina Berriault's script allows immensely talented and respected actors like Wilford Brimley, Robert Duvall, Glenn Close, and Frederic Forrest to spend time simply existing. Whether the things they have to say are minor or of deep significance, it all comes down with the weight of pure reality.
When you look at the actors involved, or the great soundtrack by James Horner, it seems strange that such a film be very nearly forgotten. Maybe much of what makes "The Stone Boy" what it is was the time period it was made in. There's this 1970s hangover feeling to this picture that reminds me deeply of my own childhood. People talk of the 80s in terms of modern styles and music, but that's not the 80s I lived in or remember. The look of the images, the understated and dark knowing quality of the acting, and the overall result should get under the skin of any person who grew up in or near this era of time in rural North America. I see myself in this. I see how I saw the world. And a film like "The Stone Boy" sees the world for how it truly is.
For more of this feeling, please see:
The Black Stallion (1979), Never Cry Wolf (1983), Tender Mercies (1983), Testament (1983), Places in the Heart (1984), Matewan (1987), High Tide (1987), Driving Miss Daisy (1989), The Secret Garden (1993), The Secret of Roan Inish (1994), Wendy and Lucy (2008)
A strangely quiet but communicative film
PeachHamBeach25 March 2009
Warning: Spoilers
Honestly, I find this film almost too depressing for my own good. It is VERY depressing until pretty much the very end. There is no way I can justify passing judgement to any character who did things I didn't like (well, except for the disgusting character played by Fredrick Forrest). But it's still so frustrating to see people behaving this way, putting up walls around themselves when just a word or so could break the ice and promote healing.
A horrible tragedy strikes a Montana family. They believe they've lost one son, but it turns out they've lost 2. The key is, if they just communicate and face their grief together, they won't end up losing their second son permanently.
But they just can't. Something is blocking this family from sharing their sorrows. Some family retreat into silence and resentment while certain others point fingers of blame (and then go ahead and cheat on their poor pregnant wife by seducing the pretty girlfriend of the deceased...that Andy character truly is a snake!) The only member of the family that isn't threatening Arnold in some way is his Grandpa (Wilford Brimley). Grandpa seems to be able to speak to the boy without judgements or even kid gloves. He seems to know what the child is thinking about even though Arnold isn't saying much these days. It is truly a blessing for the poor kid to have that one someone he can turn to. No one else seems to grasp the fact that Arnold might be in shock, in denial, or that his way of grieving may not be the same style, or at the same speed, as they would expect. It's so easy to judge and to be angry and to feel someone is "made of stone" just because they don't grieve in a way we believe they ought.
The story is very quiet and naturalistic. You're not going to get some spoon-fed narration or some Hollywood feel-good resolution. I was very concerned by the fact that this child was so burdened with guilt that he felt it necessary to hitchhike several hundred miles to apologize to that piggy Andy's wife, for something he should not blame himself for. Arnold may have accidentally killed his brother, but nobody is responsible for the end of that marriage, which apparently was a lousy one anyway, except for the two people in the marriage. It's only dumb luck Arnold didn't get into the car with a pedophile or a murderer.
Robert Duvall and Glenn Close are frustratingly effective as the parents who somehow cannot find it in themselves to communicate with their son, to find out what Arnold is going through. Jason Presson, whom I've not seen anywhere else except for a childhood favorite called EXPLORERS and a creepy ghost story called THE LADY IN WHITE, did an incredible job as Arnold, a great performance from a child actor.
Aside from being somewhat slow at times, THE STONE BOY is an excellent, and very depressing movie.
A horrible tragedy strikes a Montana family. They believe they've lost one son, but it turns out they've lost 2. The key is, if they just communicate and face their grief together, they won't end up losing their second son permanently.
But they just can't. Something is blocking this family from sharing their sorrows. Some family retreat into silence and resentment while certain others point fingers of blame (and then go ahead and cheat on their poor pregnant wife by seducing the pretty girlfriend of the deceased...that Andy character truly is a snake!) The only member of the family that isn't threatening Arnold in some way is his Grandpa (Wilford Brimley). Grandpa seems to be able to speak to the boy without judgements or even kid gloves. He seems to know what the child is thinking about even though Arnold isn't saying much these days. It is truly a blessing for the poor kid to have that one someone he can turn to. No one else seems to grasp the fact that Arnold might be in shock, in denial, or that his way of grieving may not be the same style, or at the same speed, as they would expect. It's so easy to judge and to be angry and to feel someone is "made of stone" just because they don't grieve in a way we believe they ought.
The story is very quiet and naturalistic. You're not going to get some spoon-fed narration or some Hollywood feel-good resolution. I was very concerned by the fact that this child was so burdened with guilt that he felt it necessary to hitchhike several hundred miles to apologize to that piggy Andy's wife, for something he should not blame himself for. Arnold may have accidentally killed his brother, but nobody is responsible for the end of that marriage, which apparently was a lousy one anyway, except for the two people in the marriage. It's only dumb luck Arnold didn't get into the car with a pedophile or a murderer.
Robert Duvall and Glenn Close are frustratingly effective as the parents who somehow cannot find it in themselves to communicate with their son, to find out what Arnold is going through. Jason Presson, whom I've not seen anywhere else except for a childhood favorite called EXPLORERS and a creepy ghost story called THE LADY IN WHITE, did an incredible job as Arnold, a great performance from a child actor.
Aside from being somewhat slow at times, THE STONE BOY is an excellent, and very depressing movie.
A Very Emotional Look at Tragedy in the Family
PartialMovieViewer26 January 2015
Warning: Spoilers
A thoughtful script masterfully performed by a very talented cast. Christopher Cain does an outstanding job directing Robert Duvall and Glenn Close through a horrible family struggle. A son is killed in a hunting accident by his brother. One can just imagine the horror felt by all family members. The cast is a stellar collection of veterans and novices, all dealing with this very personal struggle in very different ways. This important work needs to be seen from beginning to end. Very rarely are movies like this made anymore. There are no superheroes in capes, flying in to the rescue at last minute; there are no overwhelming CGI graphics snatching the audience's attention (CGI is not bad, but studios are too dependent on it now-a-days), and absent is that ever-irritating plethora of unfunny potty-jokes peddled as contemporary humor. I also find one thing refreshingly absent from this movie is the typical PC drum echoing in my ear. I am so thankful for that. If you get a chance, see this movie. It is a story that is moving and emotional.
Heart-wrenching tear-jerker, but moving and eventually heart-warming
bthcrlsol9 April 2003
Both Robert Duvall and Glenn Close played their roles with such believability, I simply cried. Glenn Close's role as Ruth, showed her wanting to deal with the situation, but she was under the domination of her husband. "Let him think about what he did," Robert Duvall's character, Joe, said staunchly. The story depicted a rural family dealing with an accidental death of a son by his brother, called "The Stone Boy," meaning he was so distraught and overwhelmed by what he did, he became emotionally paralyzed. Then towards the end when Jason Presson's character, Arnold, let it all out to a stranger, I was so broken hearted for him, that I actually thought of some of the terrible things that I did in my life. I personalized and identified with his character. Frederick Forrest's and Gail Youngs' roles, did NOT add not much to the film. I thought of Frederick Forrest, who played Ruth's antagonistic, womanizing brother, Andy, as a jerk who did nothing to try to help the situation. His wife, Lou, played by Gail Youngs, acted like a crazy-lady smacking Arnold around out of frustration with her own problems without pity and blaming him for her troubles. I could NOT really feel sorry for these two. Though Lou tried to keep her marriage together, she was unsuccessful. Both did NOT deal with their problems effectively. They really did NOTHING for the film and were totally ridiculous. Wilfred Brimley's minor role as the grandfather was, touching for he was the only character that showed Arnold any attention. I felt his role should have been elaborated. The players were just doing what they felt was adequate and sufficient. However, I really liked the ending so much, I actually smiled and cried tears of joy. I felt good. The Hillermans were a family again. I actually wanted to be a part of this family. They were so realistic.
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