Art & Artists
Art Basel 07
Art Basel 08
Art of Life
Basil Twist's Petrushka
Betty Tompkins
Diane Keaton Tribute
Edward Steichen
Gertrude Stein
Les Nubians
New Museum
Peek-A-Boo Revue
Pill Awards
Photogs to the Stars
Erotic Art Museum
Movies

A History of Violence

An Inconvenient Truth
Angels in America
Brokeback Mountain
Capote
Chris and Don
Dreamgirls
eXposed
Little Children
Liza with a Z
Man on Wire
Notes on a Scandal
Quinceanera
Rent
Shortbus
Syriana
That Man: Peter Berlin
The History Boys
The Queen
The Savages
TransAmerica
Volver
Woodstock Uncut
Music
Morgan James
Joey Arias in Concert
Arias & Vine
Arias with a Twist
Brilliant Mistake
Candi Stanton
Diana Ross
Fight the People
Fish Circus
Fish Circus V2
Gavin Creel
Joe G's Winter Party
John Bucchino
Kevin Aviance
Lisa Shaw
Maximus 3000
Meow Meow
Paul Winter
Ute Lemper
Theater
A Chorus Line
Absinthe
ABT's Romeo & Juliet
August: Osage County
Avenue Q
Boeing Boeing
Company
Coram Boy
Faith Healer
Getting Home
Grey Gardens
Gypsy
Heartbreak House
Joan Rivers
Journey's End
Kismet
Les Liaisons Dangereuses
Light in the Piazza
Marga Gomez
Mary Stuart
Moviní Out
New York City Ballet
Rainy Days & Mondays
Rent 10
Shout!
Some Men
Spelling Bee
Spring Awakening
Sunday in the Park
Sweeney Todd
The Little Dog Laughed
The Seagull
The Vertical Hour
Threepenny Opera
Times They Are A-Changin
Trailer Park
Wall to Wall Broadway
Photo Credit :: History of Violence
Arts & Entertainment
A History of Violence
by Mark Thompson & Robert Doyle
January 6, 2006
www.historyofviolence.com 
Share |

Right from the start of A History of Violence, David Cronenberg makes it clear that the nightmares his characters dream are inseparable from their reality. You can run but you canít hide, thatís what Tom Stall (Viggo Mortensen) discovers after a spontaneous act of heroism. Based on a graphic novel by Jack Wagner and Vince Locke, Cronenberg directs his scenes in a style which evokes the graphic novelís storyboard panels as well as its laconic and often-cliched dialogue. Thereís an intentional slowness to the filmís start, as if to suggest the placid surfaces of a smug quotidian existence in Millbrook, Indiana, where Stall lives with his wife, Edie (Maria Bello), and their two children, Jack and Sarah. Particularly with the scenes set at Jackís high school, Cronenberg seems to be juxtaposing the platitudes of an after-school t.v. special with the archetypes of the teenage slasher film. High school bullies and serial killers lurk around every corner Ė and itís not long before the man in black (Ed Harris as Carl Fogarty, complete with a wandering dead eye in milky-blue) stalks our heroís every move. Splattered with blood and guts, the film is nonetheless primarily concerned with familial relationships under the strain of violence. When the lies of the past come home to roost, is there room enough for forgiveness? Or more specifically, once your front lawn is littered with bodies, can you trust the man in your bed? Cronenberg seems to believe that even so you can still get a good nightís sleep.