Relationships Of Different Kinds At Heart Of “Snow Angels”

Relationships are the underlining subject in “Snow Angels,” the latest film by indie director David Gordon Green.

But then again, relationships have always been at the core of this genius young filmmaker’s movies. Since his debut with “George Washington” and his follow-up “All the Real Girls,” Green has become known for his dispatches from down south and the relationships its inhabitants create amongst themselves and their environment. They’re small movies about unseen people, positioned in lyrical poses and poetic lighting.

“Snow Angels” is no different, except that we move from steamy southern towns to wintry Middle America. In the process, Green moves away from his visual poems and opts for more narrative verse, which may be attributed to the fact that this is Green’s first adaptation. From the novel of the same name by Stewart O’Nan, Green does an excellent job in lifting the story and offering his unique sense of character.

The tale follows a trio of relationships, beginning with Arthur (Michael Angarano), an awkward, if not lovable, high school student. Arthur’s relationship to the townsfolk offers a center point to this menagerie, as we examine the collapsing marriage of his parents (Jeanetta Arnette and Griffin Dunne), his blossoming romance to the quirky-cute Lila (Olivia Thirlby) and the perilous relationship of Annie and Glenn. Their story develops into a riveting melodrama.

Annie (Kate Beckinsale) is a single mother who struggles to raise her daughter, as most single mothers do. She and her husband, Glenn (Sam Rockwell), are separated, after Glenn’s suicide attempt. Glenn struggles to find redemption in Annie and the people around him. Sobering up, getting a job and finding Jesus all contribute to Glenn’s renewal, but not in the eyes of Annie, who sees Glenn as a threat.

Each relationship offers a counterpoint to the others, as Green jumps around the town. Arthur and Lila symbolize youthful infatuation that perhaps Glenn and Annie once had, while Arthur’s parents offer a domestic viewpoint of the sadly typical divorces seen amongst the middle class. But when a terrible accident tears the town apart, the way each couple copes allows us to understand their bonds. Relationships are redefined, and as the tagline says, “Some will fall. Some will fly.”

The ensemble cast is excellent, including the young Angarano (one to watch out for). Beckinsale offers her best performance to date, opposite Rockwell, who chews up and spits out everything around him. Rockwell proves his skills, as he transforms from a caring and sympathetic father into a frightening religious zealot; he’s so twisted, we weep at his downfall. And while Beckinsale’s character may not offer the same connection or sympathies, the actress nevertheless holds her own.

The film is an experiment for Green, who has been exploring his range since his underrated 2004 genre film, “Undertow.” “Snow Angels” allows Green the possibility of nailing down metaphor and complex themes, while embarking on a more mainstream stylistic approach. Green’s regular director of photography, Tim Orr, proves such, as the photographic approach is much more straightforward than his previous work. Throwing off the stylings of his artsy indie roots, Green is successful in bringing about an accessible film involving what may end up being a controversial subject to audiences.

To be sure, this is indie drama, as the film finds a way of straddling the offbeat and dry humor at the beginning and the deeply heavy drama at its conclusion. You may laugh at the start of the film, and smile at the young love Green is so fond of photographing, but you’ll be rocked to the core by the shocking end, even when you see it coming from frame one.

“Snow Angels” is now playing in New York, and opens in Los Angeles on Friday.