Jim Sheridan’s ‘Brothers’
BY ANGELO CANTERA CORRESPONDENT

In his stand against war, director Jim Sheridan has come well armed. Taking a shot at the price paid by soldiers and their families, his latest film Brothers has the perfect weapon—a riveting tale once told beautifully by Danish director Susanne Bier.

It comes loaded with a host of critically acclaimed stars led by Toby Maguire and Jake Gyllenhaal. Most importantly, it is well timed, coinciding with the ongoing surge of US troops in Afghanistan. But even with such an arsenal poised to make a resounding impact, it seems that scars of war are either too tender or too tough for even an Oscar-nominated filmmaker like Sheridan himself.

Based on Bier’s film Brødre, Brothers is a tale about two siblings, Sam Cahill (played by Maguire) and Tommy Cahill (played by Gyllenhaal.) The older of the two, Sam is a marine set to embark on another tour of duty in Afghanistan. He is also a devoted husband married to his high school sweetheart, Grace (played by Natalie Portman) and a loving father two his two young daughters, Isabelle (played by Bailee Madison) and Maggie (played by Taylor Geare).

His brother on the other hand is his polar opposite. Tommy a former convict imprisoned for armed robbery, he has become his family’s black sheep and a disappointment to the eyes of his father, the war veteran, Hank (played by Sam Shepard).

At the early parts of the film, Tommy is released from jail and is picked up by Sam before he departs for Afghanistan. During a dinner that supposedly welcomes the former home and sends that latter off, unresolved conflicts between Tommy and his father surface when he seemingly questions his brother’s need to go to war.

After Sam leaves, Tommy attempts to redeem himself in the eyes of his family. He tries to win over Grace who has always been resentful toward him. As she and her kids warm up to him, tragedy strikes when Sam’s helicopter is shot down in Afghanistan and he is presumed dead.

Bonded by their mutual mourning, Tommy and Grace became closer. During one of their grief-stricken conversations by a fireplace, they share a passionate kiss. They end up regretting it after and decide not to take their relationship a step further. Tommy, however, persists visiting Grace and her daughters, providing some sort of a father figure for his nieces in an attempt to ease the pain of their loss.

As the film unfolds, it, reveals that Sam has survived the crash and has been taken prisoner by Afghan militants along with his comrade Private Joe Willis (portrayed by Patrick Flueger.) During their capture, Sam and Joe are tortured and forced to make videos claiming that US forces must retreat and leave Afghanistan to the Afghans. Joe cracks under the torment while Sam remains steadfast. Eventually, after deeming that Joe is useless to them, his captors decide to get rid of him by having Sam beat him to death with a pipe. Though the Sam initially refuses to do so, he finally gives in when they threaten him that he would not see his family again.

After some time, Sam is rescued and returned home. But as it is with most war survivors, the battle inside his head continues. Visibly traumatized, the once- loving family man becomes a cold stranger to his own home. He shuns his wife whenever she tries to connect with him and reacts distantly to his children. He also accuses his brother and his wife of having sexual relationships when he was gone. His stay in Afghanistan has changed him so much that he eventually questions whether or not he would be able to recover and go back to his normal life.

During these times, war dramas are a necessity to remind people what they are fighting for and what we are losing in the process. This is the role that people like Sheridan play. Over the years, countless artists and public figures have given their opinions regarding this issue. That being said, this film is in good company. But unfortunately, it hardly stands out.

Perhaps one of its biggest flaws is its storytelling. Though adequately paced, it is sadly too straightforward to be as gripping as it should be. Majority of the scenes tend to fall flat with forthright narration. It should show, and not just merely tell the story. Given that Sheridan did weave magic in past works like In America, it cannot be helped that one would expect him to milk the emotions out of every scene.

Another weakness involves the lingering subplot revolving Sam and Tommy’s father, Hank. During his first encounter with his two sons in the film, it is clear that his disturbed persona has a story to tell—an interesting back piece that could further humanize the main characters and let them hit closer to home.
Flashbacks could’ve been made. Pivotal moments could’ve been utilized. Instead, all viewers get is a post-funeral spat between Tommy and his dad wherein the former retells how he and his brother were treated during their younger years. With these shortcomings, one might even think that Sheridan merely allowed the strong plot of the film to speak for its self.

Nontheless, the film has its strong points. Brothers delivers adequate performances from Portman and Gyllenhaal. But the real star here, surprisingly, is Maguire. Known for his portrayal of Peter Parker in the Spiderman series, he comfortably brings in a tender almost soft-spoken character, only to shine even more when that picture perfect hero is transformed into a war-shaken victim. He does this well, creating a transformed being that does not stray too far from how Sam was before the war. This makes him all the more believable.

But while the acting does contribute to the film’s appeal, it is undoubtedly the overall tale that arrests its viewers. Perhaps with the desire to know how it will end or whether or not both brothers would have their share of recovery keeps it interesting long enough for one to keep watching it until the end.

Overall, Brothers serves its purpose in delivering its anti-war message. And it does so clearly. But this film could have delivered a message as indelible and as unforgettable as a battle scar.