Wasting what could have been an intriguing look at two distinct, and bygone eras through two polar opposite characters, "Shadrach" may be well-intentioned, but its stymied direction, writing, and occasional overacting -- not to mention general disinterest in the overall plot line -- will prevent it from ever finding a theatrical audience.
Destined for an ultra quick trip to the video shelves, the film plays out like one of those elegantly staged, sepia-bathed Hallmark TV productions, although in comparison, it pales even to them.
First-time director Susanna Styron, who's adapting the short story penned by her father, William, some two decades ago, succeeds at getting the look and feel of the Depression era right, but that's about it. With brief, but tedious and too "on the nose" voice over narration (supplied by actor Martin Sheen attempting a Virginia drawl), Styron hopes to give the film an old-fashioned, down homey feel. Beyond the poor family's language, she's mostly succeeded.
In doing so, however, she's unfortunately forgotten to include some much needed conflict and overall drama to make the proceedings halfway interesting. While the story is initially intriguing, the plot element of an old man coming home to die and be buried in the land on which he was born is about as exciting as it sounds or ultimately gets.
Although a local sheriff's refusal to allow that burial to take place provides some welcomed, albeit limited conflict, it's not enough to keep the viewer from wondering whether they left their headlights on in the parking lot or pondering about the freshness of the popcorn sold in the lobby.
A great deal of that stems from the massive amounts of squandered material. Despite having the movie named for him, we know very little of the titular character. Consequently, a treasure trove of potential source material -- let alone more substantial flashbacks -- slips right through Styron's hands.
Shadrach's ninety-nine years of life experiences -- especially from the era in which they occurred -- would seemingly be of great interest not only to the audience, but also to the young characters who have quickly grown fond of their new, near centenarian friend.
Yet Styron, who cowrote the screenplay adaption with Bridget Terry, keeps Shadrach an enigma, a weathered shell of a man about whom we're told very little. The fact that he was a slave, a sharecropper, and outlived everyone in his family is briefly explored in limited, observational flashbacks, but we never get to know his character.
Not only is the lack of substantial and sustained flashbacks to his life a complete waste, but they would have nicely complemented young Paul's experiences growing up in a society still feeling the effects of segregation and class differences.
Instead, the film is more interested in presenting the former slave's sudden effect on that poor, Depression era family, but even that is bungled and comes off as uninteresting and subpar. It initially appears that Styron seemingly wants to explore the class differences between Paul's family and the poor Dabneys around whom the boy's more comfortable spending his time. Yet beyond the aforementioned narration, such elements are quickly abandoned.
What we're left with for the rest of the movie is Harvey Keitel and his clan taking Shadrach on a long trip -- and then a long wait -- for him to eventually die. Along the way he messes his pants, Keitel brews some moonshine, and the local sheriff drops by and oddly seems more interested in preventing Shadrach's burial than in Vernon's moonshine business, but that's about it. Even the "big" payoff twist at the end is telegraphed so much that it's doubtful many will be surprised by it.
Although the topic of dying is ever present and the film occasionally touches on the thematic elements of that -- it's never done in much of an interesting fashion. While the kids are realistically scared to go into the house after the old man dies, the film squanders away the whole concept with its lackadaisical approach.
All of which is a shame. A ten-year-old boy's curiosity about death, this old man and his amazing life story should be busting at the seams, but we never see much of that, nor does he pose many questions to others concerning such matters.
Instead, Styron seems more fixated on a Mickey Mouse pocket watch that Shadrach carries -- something I'm not sure even existed in 1935 -- a mere seven years after Mickey's debut in a cartoon short and long before the Studio's glory years. While the piece is presumably symbolic, it's really only later used as what's supposed to be a touching return gift scene. Unfortunately, that, and most every other similar scene fail to work simply because we have no emotional involvement in the characters or their predicament.
The strongest performance -- mainly by default -- comes from Andie MacDowell ("Four Weddings and a Funeral," "Multiplicity") as the caring, complacent, and alcoholic mother. Although she isn't given much leeway with which to do much regarding her character, MacDowell creates a believable enough persona.
The often volatile characterizations presented by Harvey Keitel ("Reservoir Dogs," "Cop Land") are also present in this film, but his character's dialogue is often so stilted, and his motivation so questionable, that the effect he's striving for is lessened. While we understand why he's so bitter toward the world -- many unemployed people during that era were -- we're never quite sure why Vernon suddenly becomes so obsessed with burying Shadrach -- other than his stilted "it's the principle of the matter" reaction -- and thus much of his behavior is often unbelievable.
Meanwhile, newcomer John Franklin Sawyer as the title character is good and creates a sympathetic character, but one only wishes we were allowed to know more about him and have him recount his many varied tales of a century of life. Fellow novice Scott Terra is also good in his role as the young protagonist, although much of what we learn about him comes from the voice over narration instead of his acting.
Lacking any substantial plot, conflict, or overall drama, the film is all mood and appearance with not much underneath its antiquated shine. As such, and as "Midnight in the Garden of Good and Evil" too easily and unfortunately proved, Southern mood alone can't carry a film, let alone make it good.
Although the semblances of a decent and compelling story lurk about the sweet-natured plot, they're never allowed to break through and make this an intriguing or even compelling story. While it's readily apparent what the film is trying to do, it simply doesn't succeed despite its best intentions and quaint period setting. We give "Shadrach" a 3.5 out of 10.
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