There are quite a few souls already proclaiming Ethan Hawke's performance in Padraic McKinley's Depression-era thriller The Weight to be his greatest yet, lofty praise for an actor who seems unafraid of any character and almost averse to playing it safe. I must confess that I still lean myself toward Hawke's masterful work in First Reformed, a film that continues to alter my DNA to this day.
However, what's the point of comparing? Both performances are brilliant. Hawke is one of those actors who makes any film he's in a better film. It's a beautiful thing to behold when he's in a film, such as The Weight, with a story that lives up to his own outstanding work.
The Weight is a muscle film. If you know your film history, you'll think of films like Treasure of the Sierre Madre, Cool Hand Luke and a host of others.
Shot in Bavaria but set in the 30's Oregon wilderness, The Weight is centered around Hawke's Samuel Murphy. Murphy isn't quite what I'd call a good man, though he's certainly not all bad. He possesses a desperate bravado that both charms and harms. He's a single father with a kid, Penny (a terrific Avy Berry), to feed and a willingness to do whatever it takes to make that happen. Whatever it takes happens to run afoul of the law. Slugging a cop doesn't help, and soon Murphy himself in a gritty work camp unsure if he'll see his daughter again. The warden, Clancy (Russell Crowe, in one of his best performances in a few years), may have more authority but he's got desperation in his own ways.
This is where The Weight puts the thrills in this often brutal thriller.
Writers Matthew Chapman and Shelby Gaines tell a somewhat familiar yet incredibly engaging story brought pretty magnificently to life by director Padraic McKinley and the absolutely terrific ensemble cast that includes Avi Nash, as Singh, Lucas Lynggaard Tønnesen as Olson, and an absolutely stellar Austin Amelio as Rankin. These three will completely rock your socks off.
Both Hawke and Crowe are at the top o' their game here, both oozing the kind of masculinity that is hard-fought and not easily let go of, while I absolutely have to acknowledge that I was utterly charmed by child actor Avy Berry.
Original music by Shelby Gaines and Latham Gaines adds a delightful spark and resonance to the film, while Matteo Cocco's lensing gives the gritty film a pristine shine and wonder. Props as well for Esther Walz's costume design and Cora Pratz's production design.
It seems like every time Hawke gives one of these life-changing performances that the film ends up flying way too far under the radar. Here's hoping this Vertical release finds the audience it so much deserves. Hawke should no doubt be mentioned come awards season.
Written by Richard Propes
The Independent Critic
