About ten minutes into Jeff Nichols’ 2007 movie Shotgun Stories, I asked my husband, “Am I crazy, or is this, like, Shakespeare?”
Check it out: In rural Arkansas in the heat of summer, a woman knocks on the door of a shabby house. Her son opens, and she announces, “Your father’s dead.” The three brothers inside take this news in various ways, according to their natures. They next turn up at the funeral held by the dead man’s newer wife and his four newer sons, who enjoyed comfort and security after their father gave up alcohol, took up religion, turned his life around — and abandoned his first family entirely. The oldest son interrupts the eulogy to tell the world “You think he was a good man. But he wasn’t,” and he spits on the coffin. The upgraded family doesn’t take kindly to affront, and they take their revenge — and the bitter feud inevitably unfolds from there.
“He made like we were never born,” says the oldest son; and then he spends the rest of the film showing the world that, now that the father is dead, the first son is here, and he will not retreat. It is as if he cannot. Later, when his estranged wife finds out that there was a fight at the funeral, she asks him, “You think that was wise?” and he answers, “Doesn’t matter.” All the men in the movie are caught up in a violent drama that rolls out inexorably, as if it’s beyond anyone’s control. It is very hard to fault them for any of the choices they make, even when they will clearly lead to suffering, because they are behaving as one must in their world. It is as if the death of their father abruptly demands a higher, more elemental way of responding to the world — acting, rather than just enduring. (At the same time, at least some of the sons want the next generation to have something different.)
The three sinned-against sons are drawn in a few deft strokes that make fully-realized characters: One ambitious but prideful, one passive but single-minded, and one meek but intensely loyal. They are, you gradually realize, named “Son,” “Boy,” and “Kid,” (even the family dog has a more human name), while the upgraded family of sons are named after the father and after apostles. There is even a “fool,” a meth cooker named “Shampoo,” who cruises in and out of scenes delivering news, badgering, and instigating more drama. We never even see the father, dead or alive, but we know him well, through the memories of the seven sons he left behind.
There may possibly be an Old Testament/New Testament story being played out between the two families, working through themes of fathers who abandon us and yet somehow ordain our every move. I need to watch it again, because I know I missed a lot the first time around. Here’s a trailer that gives a pretty fair overview, although it doesn’t include the other two brothers, which is a shame:
What’s extraordinary about Shotgun Stories, and what also blew me away in Mud, the other Jeff Nichols movie I’ve seen, is the sense of place. Rarely, rarely have I seen such a true and real and immediate world through the lens of a movie camera. When the three brothers slump dejectedly in the street of their cracked, tired old town, I feel like I’ve lived there all my life and I’m sick to death of it. When Son reaches down to clear out the drainage pipe in the fish farm where he works, I feel the mindless weariness of it my sore elbow and my damp shirt cuff. I see exactly which parts of the tract home were fixed up by Son’s fed-up but not heartless wife, and which parts have fallen under the fate-haunted influence of the three brothers. The movie is clearly filmed on a shoestring, but it doesn’t look cheap, just true. Remarkable.
What I haven’t mentioned is how funny the movie is, in unexpected spurts. The third son, Boy (Douglas Ligon), a gentle, pudgy, part-time basketball coach who lives in a van down by the river, tries at one point to hook up a full size air conditioner to his van; and ever since his attempt, his radio will occasionally start blaring cheesy power ballads, and there’s nothing he can do about it. He endures this several times, at the worst possible moments, and it is only after the fourth time that he thinks to turn the volume down. But it is Boy who eventually becomes the center of the action after Son can’t protect his brothers anymore.
The casting is, as in Mud, impeccable, and the acting is flawless. Michael Shannon as Son is tremendous, infuriating and heartbreaking at once, his face conveying three layers of emotion for every word he tightly utters. Like the dead father, the shotgun of the title barely makes it on screen. Instead, you see scars of the past, and are waiting throughout the entire movie to see whether or not it will go off again, and what will come of it all. You will not be able to take your eyes away.
We saw this movie on Netflix streaming. Rated PG 13. Some violence and fleeting foul language; very intense in mood; suitable for teenagers. Highly recommended!
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