Ethan Hawke Bears ‘The Weight’ of the Depression

When did Ethan Hawke become one of the best actors of his generation, one that includes Leonardo DiCaprio and Christian Bale? Of course he’s always been a solid actor, appearing in the beloved “Before” trilogy as well as many other movies throughout the 1990s and early 21st-century. Still, his rise to a higher realm of acting seems to have occurred sometime in the last decade, starting with “First Reformed,” the unsettling Paul Schrader drama in which he played a small-town minister undergoing a crisis of faith. Since then, the Gen X thespian has starred in several critically acclaimed TV shows while portraying a diverse string of famous figures like Pat Garrett, Nikola Tesla, and Lorenz Hart on film, with the latter role in “Blue Moon” earning him a Best Actor nomination at this year’s Academy Awards.Mr. Hawke’s latest film, the gripping period thriller “The Weight,” sees him explore a type of leading man he’s increasingly been embodying. Such roles match his more weathered visage: The mildly disreputable but still honorable middle-aged man. The character of Sam Murphy, a taciturn WWI veteran and widower with a young daughter, seems tailor-made for the actor, particularly the troubled, espaliered lines that can appear on his forehead, his sensitive intelligence, and his low-key character work. Set in Oregon in 1933, the narrative evocatively incorporates the effects of the Depression. Despite the historic context, though, the first thirty minutes depict a story that’s hard to pin down. After establishing Murphy’s close relationship with his daughter Penny (a preternaturally talented Avy Berry) and the precariousness of his financial situation, the film then separates the pair when he is arrested for what appears to be no reason. He ends up in a prison camp, where the hard labor is building roads. Warden Clancy (a crafty Russell Crowe in a small part) soon realizes Murphy’s skills as a mechanic/engineer and natural, if reluctant leader, and offers him an early release — as well as the chance to prevent his daughter from being adopted — if he completes an arduous, criminal journey.The illicit mission involves taking numerous bars of gold from a mine and transporting it across dangerous backwoods into the hands of powerful investors, who refuse to hand it over to the government under a new order introduced by recently installed President Roosevelt. Thus begins the film’s more formulaic but still riveting central storyline. As one might expect, Murphy gathers a team of fellow convicts to help him achieve the objective, and each one is allowed only a handful of traits. There’s Singh, an Indian immigrant and socialist; Rankin, a brash, prejudiced ne’er-do-well; and Olson, a young, naive Scandinavian farmer. As we come to find out, the reasons for their being incarcerated, just like Murphy’s, are tenuous at best, with the filmmakers implying how the period’s law enforcement and justice system were frequently corrupt and subject to “market forces.”Two armed guards tag along, immediately casting doubt on both the group’s survival and its chances of completing the mission. Also among the men is an Indian woman, Anna, who escaped the mine, where she worked as a servant, and joins them on their journey. This character completes the narrative’s western-like outline and adds further historical context to the story, not to mention bolstering its exploration of socio-economic exploitation. Anna also represents a potential love interest for Murphy, which is first visualized during a stunning scene in which Murphy is stuck underwater, and she provides him with air mouth-to-mouth.The suspense and beauty of that scene is representative of the movie. Longtime editor Padraic McKinley, in his feature film debut as director, marshals every element — the acting, script, sound design, and more — in order to tie classical Hollywood storytelling to maximum tension. The imagery has both an elegance and rapt immediacy rarely found in a genre picture nowadays, and Italian cinematographer Matteo Cocco’s work merits special attention. In shot after shot, the camera captures the atmospheric quality of the landscape — with Germany’s Bavaria region standing in for Oregon’s forests and mountains — making for an immersive viewing experience that heightens the drama.As a Western-adventure-heist picture, “The Weight” is built around action sequences and thrilling set pieces. Most are fantastic, such as when the group traverses a river as massive floating logs surge towards them, while a few, such as a walk over a ravine via a dilapidated rope and wood plank bridge, feel rushed. Besides the danger inherent in the landscape and its inhabitants, there is the unease and distrust between the seven trekkers, which screenwriters Matthew Booi and Shelby Gaines ratchet up until they reach their destination, where it explodes. This climax might seem conventional and even a little messy, yet it also proves satisfying, especially when paired with its follow-up, which sees Mr. Crowe’s warden character show up again.Actors Avi Nash, Austin Amelio, and Lucas Lynggaard Tønnesen imbue the respective roles of Singh, Rankin, and Olson with enough subtlety to elevate them beyond stereotypes. As Anna, Native American Julia Jones has the tricky job of making the “token female” role make sense and the adept actress proves up to the task. Of course, it is Mr. Hawke who is the heart of the film, and the actor gives a riveting performance as a man determined to act logically and smartly amidst constant danger. His Murphy is not perfect, just a father desperate to reunite with his daughter. Ultimately “The Weight” turns his plight into a simple yet resonant allegory of prudence, fortitude, temperance, and justice — the four cardinal virtues.

Ethan Hawke Bears ‘The Weight’ of the Depression

Ethan Hawke Bears ‘The Weight’ of the Depression

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