With a solemn, artsy title like "House of Sand and Fog," it's easy to imagine director Vadim Perelman's debut film as a sappy sentimental drama involving a decaying Victorian manor, the kind of movie with foppish elderly British couples bemoaning the slow disrepair of an old mansion. It sounds exactly like the title of a typical Oprah book club choice, and surprise, surprise, "House of Sand and Fog" is based on a novel by Andre Dubus, III handpicked by Ms. Winfrey herself for mass audience consumption.
In this case, however, you can't judge a film by its cover, as "House of Sand and Fog" is anything but soppy and sentimental. Perelman has crafted a fine, absorbing piece of cinema, a dark drama with all the tension and weight of a thriller. The film focuses on the foils of two unlikely adversaries, Colonel Massoud Amir Behrani (Sir Ben Kingsley) and Kathy Nicolo (Jennifer Connelly). Behrani and his family have arrived in the United States after fleeing revolution in Iran, and the once proud colonel, who was close to the Shah himself, has been reduced to working two menial jobs in order to support his family's lavish lifestyle. Behrani spots an opportunity for money and a real foothold in America when he purchases a small house in northern California at auction for a bargain low price.
Unfortunately, that house belongs to Kathy Nicolo, a recovering addict whose life is in disarray. Wallowing in her own misery as everything crumbles around her, Kathy is too lethargic and absent-minded to open her mail, and as such, she misses the county's letters informing her that they are repossessing her home. The county has mistakenly assumed that she has failed to pay her back taxes, and before Kathy can correct the problem the house is already put up for auction and purchased by Behrani.
Desperate to cling to some form of stability, Kathy comes to head with Behrani, who is equally determined to provide for his family and will not sell the house back to the county for less than market value. The crux of the film, and indeed what makes the film work so well, is that both characters are equally sympathetic. It is impossible to choose sides, because Kathy and Behrani, with their flaws and admirable qualities, are both acting rationally in their own interests. In this way, the events of the film have an inevitable, almost Shakespearean quality in their tragic resolution, as each incident and reaction progresses logically from the last.
It is unfortunate that all of this expert and methodical build-up falls apart near the end of the story, after a single implausible turn by one of the film's characters results in a horrendous tragedy. Despite this unsatisfactory ending, "House of Sand and Fog" is still a must-see simply for its outstanding performances.
One wouldn't expect the kind of genuine emotion and passion generated by Jennifer Connelly, with her cold glass-like beauty and glossy blue eyes. However, Connelly more than holds her own in the film as the frail, wounded Kathy. The tour-de-force performance belongs to Sir Ben Kingsley, who so embodies the proud character of Colonel Behrani that it is easy to see why he was the only actor considered for the part. The exceptional performances extend to the supporting cast as well, with the roles of Behrani's wife Nadi and son Ismail. Veteran Iranian stage actress Shohreh Aghdashloo makes Nadi far stronger and more complex than she seems, with an iron will and proud bearing that belies her kind submissive exterior. First-time actor Jonathan Ahdout is also excellent in his role as Behrani's obedient son.
The other great first-time performance belongs to the director himself. Perelman infuses each scene with such tension and dramatic weight that it is impossible not to be absorbed by the compelling narrative. The events leading to the shocking ending will leave your heart pounding, even if they betray the previous methodical plotting.
"House of Sand and Fog" also paints an amazingly realistic portrait of an Iranian-American family, complete with a good bit of casual unsubtitled Farsi woven throughout the film. Perelman certainly expects a lot out of his audience for example, when he assumes that everyone knows exactly what SAVAK was, but thankfully most of the cultural touches resonate easily with the average moviegoer.
The film's depiction of misunderstandings between cultures is certainly timely, and anyone will appreciate the movie's absorbing plotting, virtuoso directing and superior acting. "House of Sand and Fog" may be needlessly maudlin in its conclusion, but in the end, it is still a moving and powerful film that doesn't have to resort to cheap sentiment.
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