RATING:

Starring:Viggo Mortensen, Ed Harris, Maria Bello, William Hurt, Ashton Holmes, Sumela Kay. Written by: Josh Olson. Directed by: David Cronenberg.

Rated R for strong brutal violence, graphic sexuality, nudity, language and some drug use

A History of Violence tells the story of Tom Stall (Viggo Mortensen), an unassuming coffee shop owner living a simple life with his family in the Midwest. His peaceful, small town existence shatters when, during an attempted robbery on his diner, he kills two men in self-defense. The event makes him a media bonanza and earns him the nationwide title of hero. In addition to his newfound praise, a mysterious stranger named Fogarty (Ed Harris) comes to town claiming to have a prior history with Stall. Accompanied by a shady entourage, this gentleman did not come to bring congratulations but requests the completion of old debts. Fogarty incessantly haunts the quiet man’s life from this point on, despite Stall’s insistence that the two have never met. This is pretty much all that can be said regarding the film’s plot as revealing more might detract from your enjoyment of the film. History, however, is more than its seemingly simplistic story. True to its title, it works as a thought provoking study on the dark side of human nature while never once presuming that it has a definitive answer.

The film was directed by David Cronenberg who either brilliantly juxtaposes the drama and action genres with this work, or is charmingly unaware that such distinctions exist in cinema. As his handling of this material is far too intelligent and deft, the former would most likely be the most accurate. Cronenberg has said that, as an artist, he is interested in illuminating aspects of humanity not normally explored. Comparing his approach to that of a scientist, his efforts concentrate on unearthing elements that are already there just waiting to be discovered. He successfully accomplishes this in a subtle, almost deceiving manner. He utilizes action scenes we are familiar with and, perhaps as fans of the genre, accustomed to cheering. These moments, however, are framed in a context that alters the viewer’s expected reaction. The best example of this might arise not from the main character Tom Stall, but from his son Jack (Ashton Holmes).

There is a scene where the character brutally retaliates against a bully who, up until that point, had repeatedly tormented him. Played in almost any other film, the moment would draw applause and feelings of vindication from the viewer. In the hands of Cronenberg, however, the audience either feels pangs of guilt for reveling in the attack or, at the very least, questions why they should enjoy it so much. The director unapologetically holds up a mirror to us, revealing our most base natures and instincts. His intention is not to preach but, again, excavate notions about ourselves that would otherwise remain undisputed. The director’s method is ingenious in that it uses a tale seemingly on the surface to delve into the philosophical argument of whether or not we as the human race are even capable of existing without violence. We hold the power of intelligent reasoning and compromise but seem to struggle daily with our animal need to lash out physically.

Further, those claiming pacifism at all costs cannot deny that there are countless circumstances where, no matter your efforts to circumvent it, a hand is forced into violence because of the actions of another. These are the theories Cronenberg raises without being obvious. He never promises to have an answer but does tell us through his images on screen that the decision to embrace this darker instinct has consequences. There is one moment in particular that will forever stain itself on the memory of anyone who watches the film. After Stall shoots an off-screen thief in the face, the scene quickly cuts to a brief shot of the aftermath. Lying lifeless on the floor, the lower half of the criminal’s face is revealed in its mangled, jagged truth. Given the pre-established evil of the man this happens to, sympathy will not be the first emotion stirred. Because his own bloodied victims were displayed earlier in the film, however, one cannot help but link his just yet ugly comeuppance with the fate of those that didn’t deserve it.

This review did not mention the performances of the film’s actors. Part of the reason is that it is difficult to talk about their roles without revealing too much of the story. More than this is that, while all did exceptional, the underlying themes of the work deserved more attention. For that matter, violence is not the only idea studied in this film. Cronenberg fuses his film with thoughts on identity and how they are challenged, the debate of nature vs. nurture, and the darker facets of our sexuality. While this is the first of his films I’ve seen, he proves here that he is a talented and unique director who actually bothers to make thought provoking works.