By Marc S. Sanders
Arlington Road is a disturbing and all too real glimpse into how domestic terrorism in the United States operates. The film from director Mark Pellington becomes more intriguing with repetitive views. Evening news shows and commentators’ programs airing nightly on outlets like FOX, CNN and MSNBC will delve ad nauseam into the hows, whys, and whos of a startling attack upon a populated area within the country. Theories are pronounced, explored, and fault is found with someone, somewhere. The protagonist of the film suggests that a name and face must be declared to ensure the country is at peace once again and punishment is rightfully delivered.
What surprises me about Pellington’s film is that it was released in 1999, two years before 9/11. The worst, modern tragedy at that time was the Oklahoma City bombing. School shootings were not even as prominent; practically unheard of. We were only on the brink of Columbine High School’s terrible massacre. At this precursor moment in time, I have to believe it was especially complex and required meticulous strategizing to bomb a government building.
When I watched Arlington Road for the first time in theaters, I went with a last resort option for a ritual Sunday movie outing with dad. We had seen everything else that was playing. Title is lousy. (Really lousy – Arlington Road??? That’s the best name they could come up with???) The marquee actors are meh to my twenty-seven-year-old psyche. (Where’s Harrison Ford or Tom Cruise or Schwarzenegger???). Who’s the director???? Well, for dad and I this film was a huge surprise because of its taut, compelling screenplay and magnificent performances from Jeff Bridges, Tim Robbins and Joan Cusack. The acting is what stands out the most while you forgive all of the conveniences that intersect to keep the story on its tracks.
However, when I watch the picture on repeat viewing every couple of years, I realize that other than a random encounter in a parking garage for two characters, everything had been well planned ahead by the villains. Roger Ebert and even the other unpaid critic, Miguel, took issue with minor happenstances that occur at just the right time. Well, sorry to disappoint them but Arlington Road has an explanation for nearly every detail that seems contrived when in fact it was all part of a villains’ orchestrated construction. The bad guys are especially smart in this movie.
Jeff Bridges plays Michael Faraday, a college professor who teaches a history class about domestic terrorism in relation to bombings, shootings, and assassinations. He lectures his students about the faults and responsibilities of the FBI and other law enforcement departments. He also provides insight into the people responsible for these heinous acts and often questions if these nefarious figures were lone wolves capable of such madness or were they scapegoats or were there others involved to help carry out these acts.
Michael is a widower and a father to a ten year old son named Grant (Spencer Treat Clark). After his FBI wife is killed in the line of duty, Michael has not fully come to grips with the loss. He is dating Brooke, a former graduate student (Hope Davis), but he is clearly obsessed with what went wrong on that fateful day when his wife perished.
Oliver and Cheryl Lang (Tim Robbins, Joan Cusack) are the happy neighbors who recently moved in across the street. Michael becomes acquainted with them when he saves their son’s life following a fireworks accident. The Langs quickly become enmeshed within Michael’s space with child sleepovers, barbecues and evening dinners. However, the friendlier the Langs seem the more suspicious Michael feels about them.
Oliver’s backstory seems inconsistent with what Michael observes. Soon, the professor’s hysteria becomes increasingly amplified. As wholesome as Oliver and Cheryl are with big, toothy grins and neighborly charm, could they actually be plotting for an act of violence to occur? As Michael becomes more skeptical around them, Grant, Brooke, plus his wife’s former FBI partner, seem all the more dismissive. Whatever Michael is beginning to believe is nowhere near as apparent as his own expressive paranoia with big outbursts and unkempt appearances. Jeff Bridges delivers a manic performance that leaves you breathless and uncomfortable. He’s so focused on how unhinged this guy is even when he’s just trying to move on with a new normal as a surviving spouse and parent.
One of the many strengths of Arlington Road is reliant upon its ongoing build. More is learned with each passing scene. When you feel like you’ve grasped everything, new material presents itself and the actual truths may be more disturbing than what’s already been revealed.
Joan Cusack is freaky frightening. She performs to the camera with wool over the viewers’ eyes and she says so much by doing so little. Before you die, the last thing you want to see is a Joan Cusack with a crooked, unwelcome grin. I salute the simple costuming of Tim Robbins character. He dresses like Mr. Rogers with a lanky, thin build covered by earth tone sweaters and khakis. He’s so plain and corny that its terribly awkward. These friendly neighbors hide in plain sight.
On a first view, Arlington Road may feel like a paint by numbers formula with a few jump scares as the hero sneaks around for clues along with a high stakes chase through Washington DC. However, I encourage anyone to watch Mark Pellington’s thriller more than once. The first time you are focused on Bridges, Robbins and Cusack. The second time you are likely to find what explains the conveniences of the characters and the story. Then you realize that Pellington and screenwriter Ehren Krueger have done thorough research into what realistically upholds the actions of these characters and situations.
Arlington Road only suffers from a terrible and misleading title. It’s simply unattractive. However, the film is compelling and authentically conceived long before a dark trend of American terrorism and mass violence dominated social media and evening newscasts. It’s a mixed compliment to suggest that the cast and filmmakers got so much right with a topical story that was not yet so commonplace.
This is an absolutely engaging thriller that I only wish was more fictional and exaggerated than it actually is.
2 UNPAID MOVIE CRITICS!!!! 