In April Showers, Team TFE looks at our favorite waterlogged moments in the movies. Here's Chris on Margaret (2011).
If you missed Kenneth Lonergan's Margaret during it's microscopic release in 2011, you aren't alone. The film spent four years in the editing room after wrapping in 2005, leading to a litigious post-production and a bare bones theatrical run. Even with its bursting ensemble of recognizable faces like Mark Ruffalo, Matt Damon, and lead Anna Paquin, Margaret couldn't get an audience without promotion, so it died.
But if you ever want to complain about Film Twitter, remember Margaret as the poster child for its ability to create a movement around a worthy film. Thanks to #TeamMargaret, led mostly by the film's passionate British fanbase, word of mouth (and curiosity) spread quickly. Eventually distributor Fox Searchlight made the film more readily available, even sending screeners out to a handful of critics for end-of-the-year consideration. The home release also features an extended version closer to Lonergan's original intention.
Sometimes we just miss a masterpiece, but they always have a way of coming back. (more after the jump)...
Like our last installment of April Showers, the shower scene is brief but evocative. In this film, the quick moment is a metaphor as sharp and brutal as the inciting tragedy.
Lisa (Anna Paquin) has come home from witnessing a stranger's death by bus accident, covered in blood. She'd held and coaxed the woman (Allison Janney - I told you it's a loaded cast!) through the trauma, creating a trauma for herself far too intense for her teenage mind to manage. Lisa spends the film trying to absolve her own feelings of guilt in the accident by seeking some kind of justice for the dead woman, but really she's just flailing and deepening the wounds. Here as she washes the blood of a stranger off of her body, it splashes and splatters on the walls - the mess isn't on Lisa, but it still surrounds her.
And then, in a blink-and-you-miss-it moment (that is underlined slightly more in the film's extended version) you see Lisa's mother Joan (J. Smith-Cameron) washing the blood off of her daughter's boots. There are several brawls to come in the film between mother and daughter, but Joan's discovery of Lisa's later actions is measured and protective. If the blood in the shower represents Lisa's myopic carelessness, this act of kindness foretells the compassion underneath the film's central contentious relationship.
The moment's contrast of opera and intimacy is a recurring theme throughout the film, one that is remarkably perceptive of the teenage psyche and of the coping mechanisms of post-9/11 America. It's exhausting, but it is also brilliant.
Kenneth Lonergan received his first Oscar success with You Can Count On Me and could potentially be returning to the awards fray this year with Manchester by the Sea. Regardless of release, Margaret would have likely been too prickly for Oscar, though I suspect it's passionate devotees will keep it alive for some time. Have you seen Margaret yet?