‘Sukkwan Island’ Review: A Melancholic Father-Son Bonding Tale That Takes an Increasingly Harsh Turn

by

David Vann‘s 2008 book “Legend of a Suicide” is an extraordinary piece that defies conventional categorization, blending elements of fiction and memoir, novel and short story collection. The book serves as a profound therapeutic exercise for the author, who manipulates, revises, or even invents incidents from his own family’s past to cope with and comprehend the premature death of his father. This unique, introspective writing style, driven by a personal viewpoint unbound by any narrative restrictions other than its own, poses a challenge to external interpreters. Consequently, “Sukkwan Island,” a film adaptation by French writer-director Vladimir de Fontenay, focuses on the portion of the book that is narrated in third person – a nearly standalone novella that positions the author as an observer, not personally involved, but deeply affected by a sorrow that envelops both recollections and fantasies.

While viewers can enjoy the heartwarming tale of “Sukkwan Island,” about a father and his son mending their relationship in the harsh yet beautiful Norwegian wilderness without needing background knowledge, understanding the final scene’s unexpected twist at the end is more rewarding. Without context, it might come off as a structural surprise instead of an emotional climax. As viewers reflect on this twist during the closing credits, they may find themselves reevaluating their emotions and connecting with the story once again.

Recreating the powerful impact of Vann’s literary epiphany on screen seems challenging for any screenwriter. In his first feature since the 2017 debut “Mobile Homes,” De Fontenay’s “Sukkwan Island” appears as an emotionally stirring, yet somewhat incomplete endeavor to achieve this feat. However, the film’s skilful construction and the exceptional performances of Swann Arlaud and Woody Norman are likely to draw interest from international art house buyers post its premiere at Sundance.

This European film adaptation transposes Vann’s book events from Alaska to the equally breathtaking, ominous Nordic fjords and moves them from the early 1980s to the present day. The change in time period might not be immediately noticeable, aside from some contemporary fashion trends and the occasional use of a cellphone without signal, in the isolated setting chosen by Tom (Arlaud), a middle-aged Frenchman, for solitude and bonding with his 13-year-old son Roy (Norman). They haven’t spent much time together since Tom and Roy’s British mother Elizabeth (Tuppence Middleton) split up. When Tom suggests that Roy spend a year in homeschooling and character development in remote Scandinavia, both Elizabeth and Roy are apprehensive. It is one of the film’s secrets that eventually convinces Roy to accompany his father.

As a cinephile, I’ve found myself immersed in the tale of a secluded waterside cabin, rented by Tom for a year, a remote haven only accessible via Anna’s seaplane – a kind-hearted, weary resident from the nearest town, not exactly nearby. She drops off supplies and maintains contact with a lifeline radio, but otherwise, it’s just father and son navigating their solitude, with the occasional bear visit being the only possible guest. Set in the heart of summer, this new environment takes both Tom and his son Roy by surprise, as invigorating as diving into the perpetually icy fjord waters.

The relationship between them is delicate yet not adversarial – a testament to de Fontenay’s faithful adaptation of Vann’s original work, which skillfully avoids overused tropes about estranged fathers and rebellious sons. It’s touching to witness their tentative interactions, as they explore uncharted territories of empathy and affection, stumbling occasionally along the way.

During the onset of winter, the bonding experiment transforms into a test of endurance, as the harsh physical and practical conditions take their toll, shortening tempers. Tom’s mental health deteriorates, showing signs of past struggles. Arlaud, famously known for his role in “Anatomy of a Fall,” is brilliantly cast as this complex character who is both assertive and youthful. He delivers a touching, gradually heart-wrenching portrayal of paternal toughness masking underlying vulnerability. His performance complements Norman’s, the promising young actor from Mike Mills’ 2021 film “C’mon C’mon.” Norman excels at playing a boy whose calm exterior cracks under stress, revealing fear and panic. Together, their performances cleverly highlight similar character traits between father and son, even though the characters may not recognize these qualities in themselves.

In the unfolding narrative, we find adult Roy (portrayed by Ruaridh Mollica in “Sebastian”) revisiting the cabin a decade later, carrying with him unspoken sorrow and pain – a layer added to Vann’s story that subtly shifts the film’s focus. However, this addition doesn’t fully capture the raw, heart-wrenching tone of the book’s terse, sorrowful prose. Instead, it is the haunting, expansive imagery crafted by DP Amine Berrada (“Hounds,” “Banel & Adama”) that truly resonates. His camera, capturing this extraordinary landscape with a mixture of awe and icy unease, seems to reflect a bruised blue hue in the snow, sky, and skin, adding an undercurrent of melancholy. As we observe this wild and watery expanse of Sukkwan Island through this admiring yet ominous gaze, it remains shrouded in mystery to the end. The film’s detached, enigmatic quality can be attributed to De Fontenay’s thoughtful but perplexing directorial choices.

Read More

2025-01-26 02:20