Grade: A
To Kathy Nicolo and Massoud Behrani, the titular house is much more than a bunch of bricks. It symbolizes identity and the love of a father to Kathy, and to Massoud, its the key to a better life for his family. I have new-found respect for judges and mediators everywhere after watching House of Sand and Fog as first time director Vadim Perelman has crafted a gripping and thought-provoking drama, which explores both sides of a dispute which does not have any easy answers or solutions. At the center of the dispute is a house. Kathy is a recovering alcoholic and the home’s original owner, who inherited the house after her father died. Through no fault of her own, Kathy has the house unfairly taken from her by the government, and the house is put up for auction. Massoud is an immigrant from Iran, who was a powerful colonel in his home country, but was forced to flee to the United States with his wife Nadi and son Esmail. Massoud is forced to work two menial jobs in order to support his family, whom he loves dearly. When he sees the ad for Kathy’s house, he immediately purchases it for significantly less than its value, in the hopes of fixing it up and selling it to give his family a better way of life.
As you can see, this situation is a problem, and the solution is not clear. There are no easy answers in the film, and Perelman presents an emotional tug-of-war: there is no “good guy” or “bad guy,” and you never know quite who to side with. In fact, my loyalties shifted numerous times throughout the movie. Perelman presents each side like a lawyer would - with passion and confidence. The audience watches the proceedings, and as the situation becomes more murky, we know that the events will spiral into tragedy.
House of Sand and Fog boasts some of the best performances of the year. I know that sentence is overused, but in this case, it is worth reaching into the “Movie Critic’s Big Bag of Adjectives and Praising Sentences.” Ben Kingsley melts into the role Massoud Behrani. We see that Behrani is a strong man who won’t be intimidated by anyone, but also a man who loves his family and wants only the provide them with the best life possible. Jennifer Connelly stunningly portrays Kathy as a damaged and wounded woman, but who will still fight for what she believes.
Kingsley and Connelly might headline the movie, but they are supported by a solid group of actors who go toe-to-toe with the stars. Shohreh Aghdashloo plays Nadi Behrani, and her performance is unforgettable. Nadi is the buffer between Massoud and Kathy, and Aghdashloo evokes this with mastery. Unless you have a black heart, her final scene will move you to tears. Rod Eldard is also very solid as a police officer who takes pity on Kathy, and becomes her lover.
The technical aspects of House of Sand and Fog are as beautiful and deftly executed as everything else in the film. The score by James Horner is fitting and memorable, and the cinematography by Roger Deakins (a Coen brother favorite) is understated and expresses the emotions of the film very well.
For the people who know me personally, it comes as no surprise to them that I love this movie. Of all the deficiencies our society has, the one that concerns me the most, and poses the biggest threat to the medium of film and art in general, is the American population’s disdain for thinking. It sickens me to see the success of such mindless movies like The Fast and the Furious and Spider-Man, and the comparable failure of films that deserve the title of “film,” like Lost in Translation and Adaptation. And while I can’t change this slide down the evolutionary chain by myself, maybe the message I send out with the recommendation of House of Sand and Fog - a fantastic and moving film which demands thought and intelligent discussion - will reach a few people.
© 2004 Jacob Sproul
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