[№ 5] Sling Blade (1996)
There are films that can be described as being dependent on a central performance, and then there’s Sling Blade. Up until this point in my journey to 365 films, I’ve typically reviewed big picture films in which I make an active attempt in straying from too much focus on a singular item on this laundry list: cinematography, acting, directing, etc. Instead, I’ve tried to focus on the way the films I review make me feel and the overpowering aspects of said films that will resonate with me over time. That being said, from time to time I come across a film that requires me to deliver a honed focus on solely one attribute — an acting performance, for instance. It not only crossed my mind, but is nearly essential in any reference to Sling Blade that I acknowledge the outstanding performance from Billy Bob Thornton in his directorial debut and starring role as Karl Childers.
Prior to viewing this film, I was completely unaware of the stunning fact that Sling Blade was the launching point of Billy Bob Thornton’s career as a writer-director. As his first feature film, it awarded him an Oscar for Best Adapted Screenplay, in addition to a nomination for Best Actor. The story follows the character Karl Childers and his release from a mental hospital, originally being admitted there for killing his mother and her young lover years before. Much of the film is focused on Karl’s re-emergence into the world and his newly found relationship with a boy and his mom. As an adult, he has an aptitude for fixing small engines and has learned to read the Bible, and a handful of other books, such as “A Christmas Carol.” On the surface, Karl is a very slow, rather kind, uneducated country yokel, but there is also a sense of maturity in his simplicity, and Thornton manages to create an indelible character.
Trouble brews when Karl befriends the young boy, Frank (Lucas Black), and his single mother, Linda Wheatley (Natalie Canerday). He comes to live in their garage while working at a local fix-it shop, much to the disdain of the mother’s boyfriend, construction worker Doyle Hargraves (Dwight Yokum). In fact, Doyle doesn’t get along with anybody, least of all Linda’s gay best friend and boss at the dollar store, Vaughan Cunningham (John Ritter). It is the kind of story line that in some cases is ripe for manipulative devices and hammy moments, but thankfully, the writing and most importantly, a stand-out performance ensure that this film easily avoids those pitfalls.
As someone who has never even heard of this film prior to yesterday, I was shocked and quite frankly, disappointed at the lack of praise given to Billy Bob Thornton. It’s time to stop beating around the bush and recognize an amazing actor for such an exceptional performance. As the synopsis alone would reveal, this was not a particularly easy role for anyone to claim, but Thornton is able to portray the characteristics of a fictional character like Karl with the depth of a real person with real problems — problems of a character that almost seem to leap off the screen for those couple hours and affect anyone with a heart. Anyone with eyes can see that this is only possible for the simple fact of amazing writing. All of the characters feel real in their intensity and the complexity of their personalities in the sense that none of them are obviously tied to any sort of ulterior plot motives. Somehow, in the most heart warming way, you can see reflections or contrasts of the protagonist in almost every character around him.
While its political correctness may not be quite up to par, Billy Bob Thornton’s creation here is simply gorgeous. It is so utterly human, so sympathetic and considerate to all peoples, misfits and outcasts alike. It’s a mesmerizing parable of good and evil confined within the poetic Southern-style of storytelling few directors have managed to capture. Its simplicity lends a sort of obviousness to the narrative, something I think was intentional on Thornton’s part. In addition, there’s something about the minimalist cinematography (most shots are flat with few cuts), which lends to the realism of the story while also naturally highlighting the more artistic shots that I view to function as turning points within the plot. The beauty of this film lies in its patience, in its plodding pace and authentic atmosphere. These strengths may have been overshadowed if the narrative was a tad more riveting and a bit more reliant on excitement and unpredictability. Ultimately, you know from the beginning what will happen, but seeing the film unfold from start to finish is what makes this film great. The relationships he develops, the harsh realities he is faced with, as well as the glories of freedom, prompt a riveting character study from this fantastic performance from Thornton. Imperfect, but ridiculously powerful.
4.5/5