Life is far from sweet in brilliant film 'Hereafter'

One of the most critically acclaimed films of 1998, "The Sweet Hereafter" is a poignantly lyrical piece that deals with the pain of a small community. Directed by Atom Egoyan ("Exotica"), the movie combines psychological drama with mystery and plot twists to create a contemplative atmosphere that stays with the viewer long after the final credits roll.

REVIEW
	The Sweet Hereafter 3 1/2 stars At Ann Arbor 1&2

Renowned stage actor Ian Holm stars as Mitchell Stephens, an attorney traveling to British Columbia to bring "justice" to the residents of a town haunted by its past.

On a snowy winter day, a school bus swerves off the road into an icy lake killing 14 children and injuring many others.

Uncertain of why the accident occurred, and smelling blood, Stephens seeks to attack anyone who may be held accountable, in order to gain a settlement that will financially aid both the families of the victims and himself. Probing deep into the psyche of the community, the lawyer finds parents who cannot deal with their loss and are unable to move forward with their lives. But even though many residents hire Stephens to take their case, it soon becomes apparent that his presence is not helping their situation.

Courtesy of Fine Line Features Ian Holm stars as lawyer Mitchell Stephens, an outsider who travels into a trauma-ridden town in "The Sweet Hereafter."

Egoyan's work is built around a mixture of plot devices and emotion; he masterfully develops both without sacrificing either. The somber atmosphere of the community is without evident from the beginning of the film, and it is obvious that something plagues the characters on the screen. Piece by piece, the director reveals the details of the plot, slowly allowing the viewer to relate with the protagonists. But Egoyan plays with the timing of events, ignoring the standard linear sequence utilized by most filmmakers.

The main characters of the film are also used to put the story together. But to his credit, Egoyan emphasizes their feelings and mindset before revealing their part in the story. After spending enough time developing each character, Egoyan moves on to the plot. Each family on which he focuses adds a different element to the story as a whole, and their development as characters adds to the overall flow of the movie.

The grief of the community is heartbreaking, as each character reacts differently to the accident and to the lawyer.

The bus driver, with pictures of all the dead children on her wall, is still in shock. One family wants to win the largest settlement possible to provide for their paralyzed daughter. A single father who lost two children seeks to rid the town of the attorney who is rekindling painful memories. These are just some of the few characters played to understated brilliance by a large and balanced cast.

But, the film is built around Stephens, and to a lesser degree Nicole Burnell (Sarah Polley), the aforementioned young girl confined to a wheelchair as a result of the accident. In Stephens, Atom Egoyan has created one of the most complex characters in recent movie history.

A lesser production would have made the attorney the obvious villain of the story. A big city outsider comes to a small town haunted by an accident, stirs up people's emotions, finds someone at fault and gains a big profit for himself.

But this is not the case with "The Sweet Hereafter." Stephens pursues the lawsuit with a passion that goes far beyond financial compensation. The reason is that he too has a child whose life has been ridden by disaster. His daughter left home and is a drug addict wandering the streets, occasionally calling her father for money.

Obsessed by his own past and left wondering where he went wrong, it is obvious that the attorney understands the suffering of the people of the town. But due to the nature of his job, this is only revealed when he is not interacting with his clients.

Stephens, in many ways, views the lawsuit as a chance for some sort of illogical redemption. And he sees in Nicole the idealized version of what his daughter could have been. Everyone in the town loves Nicole, but a part of her has been taken away, a situation which Stephens wishes to amend.

Haunted by their pasts, the lawyer and the girl have an interesting dynamic that plays out nicely through the last part of the film. The quality of their interaction is made possible by the superb performances of Holm and Polley, who subtly express their emotions through their mannerisms, and not through the film's dialogue.

Thus, the film builds up to a dramatic climax, where the truth is revealed and the conflict is ultimately resolved. Egoyan does not disappoint, producing a finale that takes a few minutes to absorb, but is utterly satisfying.

Ultimately, "The Sweet Hereafter" is the type of film that requires the emotional and intellectual participation of the audience in order to be appreciated. Technically seamless, with an abundance of substance, the understated movie does not overpower at any point, but has a gradual, lasting effect that may be felt after its conclusion. While the film is not the most unforgettable of the year, it is a mature, impressive work that will please those who take the time to view it.

02-06-98