Star Rating: 2.5/5
Often, when it comes to a descent into insanity, one is clueless that he/she is no longer behaving in a ‘normal’ way (whatever that means); it is only those around the ‘crazy’ individual that are aware of his/her madness. This is apparent in films like Shutter Island and Black Swan. The drama Take Shelter, despite being lame in comparison to those aforementioned movies, deals interestingly with the opposite.
Curtis (Michael Shannon) looking at some dark storm clouds with concern. This is what convinces him to build a storm shelter, even if he cannot afford it.
Based in a small town in Ohio, Curtis (Michael Shannon – Vanilla Sky, Machine Gun Preacher, Man of Steel), a man in his middle-thirties, is a construction-site worker. He may live in a decent-sized house and his life might ostensibly look like it is going well, but behind the scenes things are not so rosy. Curtis’s relationship with his wife, Sam (Jessica Chastain – The Debt, The Help, Coriolanus), has become strained due to some financial difficulties, as well as emotional stresses concerning their deaf daughter, Hannah (Tova Stewart).
Soon, Curtis starts having apocalyptic nightmares and visions of a gas storm that will destroy the town and its inhabitants. Fearing for his family, he builds an impenetrable storm shelter. The trouble for Curtis is that no-one else is concerned about this impending storm, and his mother, Sarah (Kathy Baker – Edward Scissorhands, Machine Gun Preacher, Against The Wall), was diagnosed with paranoid schizophrenia in her early thirties. Curtis is aware of this and worries that he is suffering from the same mental illness. But is this the case?
Sam (Jessica Chastain) makng breakfast for her family. She wonders why her husband has become so distant to her in recent times.
The plot for Take Shelter is simple and easy to follow. Audiences will have little difficulty in differentiating when they’re watching reality and Curtis’s dreams, since the dreams tend to be darker than real world (yet surprising not disturbing). However, as a result of needing to fix the film round Curtis, the director, Jeff Nichols (Shotgun Stories, Mud), focuses too greatly upon Curtis at the expense of the other main characters, Sam and Hannah. Indeed, neither Sam’s nor Hannah’s problems are even touched upon, which has the consequence of making them virtually irrelevant to the storyline. This is bizarre and undermines the movie’s realism.
Furthermore, Take Shelter is slow-paced and some parts of the plot go by the way side, such as Sam’s need for (breast?) implants (which would have been a good opportunity to delve into some of Sam’s insecurities), whilst the ending is a cheap stunt to make one rethink the entire movie. Also, considering the music throughout is either an ominous, yet anticipatory, beat or a boding-doom thud, one waits expectantly for the climax, like in Black Swan, or for the revelatory twist, such as in Shutter Island. But it never arrives, which is extremely frustrating.
Viewer’s frustration is likely to be exacerbated by the film’s length. At 121 minutes Take Shelter is quite long, and the movie feels longer still because of the artistic style that Nichols has employed. In theory, there is nothing wrong with this style, but for a film about psychological disorders it may not have been the most sensible method to choose. Too many scenes have little action or dialogue, and when there is dialogue it can often have prolonged gaps and be devoid of emotion. The lack of outburst from any of the two main adult characters seems odd too (and perhaps improbable) considering the emotional strains and financial pressures that they’re under. Maybe if Nichols had taken inspiration from the emotive drama, Revolutionary Road, Take Shelter would have been considerably better.
The family in the shelter after hearing the storm siren. Such is Curtis’s paranoia that he even bought his family the most up-to-date gas masks in the case of a storm.
In Revolutionary Road, Frank (Leonardo Dicaprio) and April (Kate Winslet) had depth and the power to make audiences empathise with their respective feelings and predicaments. In contrast, here, Michael Shannon and Jessica Chastain perform with a remarkable lack of intensity, plus there appears to be no love or antipathy between the married couple (even though they constantly remind us of their love for each other). The acting is not poor and it gets better as the film goes on; yet, it is a far cry from the exceptional performances in any of the aforementioned movies.
Over-all, Take Shelter shows us that people with psychological disorders can realise, to a limited extent, that they are veering towards ‘insanity.’ It is just irritating that the film is quite uneventful, tedious and lacks the strong performances necessary to put it on a par with Black Swan or Revolutionary Road.
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