The premise is an intriguing one: Paul Giamatti playing an actor named Paul Giamatti, is having trouble tackling his role in an upcoming production of Uncle Vanya. His agent informs him of a new soul extraction service and hints that this might help him overcome his difficulties. Giamatti hems and haws over it and finally agrees and finds he’s lost his ability to act completely. Sounds like it could be good, right? Sadly, the film fails to explore its concepts fully and provides a picture that is moderately engaging.
Giamatti’s story is paralleled by that of Nina, a Russian woman who traffics souls back and forth to be used on the black market. Because the only safe way to transport a soul is to have a person carry it inside them. A side effect is that fragments of carried souls accumulate in a person and they begin to lose touch with the world. This story takes up more of the narrative and is eventually tied into Giamatti’s plot strand. It feels that the cleverness and originality of the plot concepts it lost on director Barthes.
The film owes a lot to the work of Charlie Kaufman, most notably Being John Malkovich and Eternal Sunshine of the Spotless Mind. Unlike those movies, there is an undeveloped nature to this script. The Giamatti angle doesn’t feel fully explored the true plot is Nina’s. In addition, Barthes creates a much darker landscape than Kaufman has ever attempted. His world’s lean more to the fanciful, while Cold Souls has merely dipped its toes. There seems to be a lot of influence from Russian literature and absurd and satiric theater, specifically that of Eugeneg Ionesco. There is not much humor in this picture, and for myself that is where I felt myself distancing from it.
I truly wanted to love this movie after seeing the trailer and seeing the interesting angle Giamatti was going to take. However, I finished it with a sense of dissatisfaction, wishing I could have seen the movie I had prepared myself for in my head. I wouldn’t encourage someone to not see this film, because there are some wonderful concepts and ideas, I just wouldn’t be able to recommend it enthusiastically.
Directed by Lance Hammer
Starring Micheal Smith, Jr., JimMyron Ross, Tarra Riggs
It begins with the discovery of a man who killed himself with pills. His body is found in his home during the winter in a Mississippi Delta township and has a life-changing effect on the last three members of his family.
In the hands of a Hollywood studio this film would have felt the need to be over-emotive in its themes. Instead, first time feature director, Lance Hammer shows considerable restraint. Reactions are subdued and brooding, a truer reflection of how people deal with tragedy in their families. The landscape of rural Mississippi during the bitter winter adds to the tone of grief felt by the three main characters of the film. It’s interesting to note that the landscape is so wide open yet the characters all seem to be constrained and locked up in how they interact.
The plot follows Darius (Smith, Jr), Marlee (Riggs), and James (Ross). Darius is the deceased brother who attempts suicide on himself after discovering his brother. After recovering from the attempt, he delivers his brother’s will to the ex-wife and estranged son. Their various problems in life come to the surface and through their tense relationships with one another they come to an understanding.
The film presents an angle of the African-American experience rarely seen on film. Typically, we see only urban black youth in our theaters and Ballast focuses on the rural experience of the culture. The economic struggle appears more desolate and hopeless mainly because of the void-like expanse of nothingness surrounding them. Hammer chose to use local non-professional actors in the film and the choice results in amazing performances. The sadness and anger is so natural and real and truly displays the after effects of a suicide on the people left behind. The most revelatory aspect of the film is its abruptness. Throughout the film, jump cuts are used but most importantly the beginning and conclusion of the film are sudden. There’s a lot about the past we can assume from passing pieces of dialogue. As for the future, there are lot of plot points left unanswered but it fits with the cinéma vérité like tone of the picture. At the end, Ballast exists as a slice of life depiction of people dealing with tragedy across all fronts of their lives.