Indignation (2016)

Review

110min

Genre:       Drama, Romance

Director:    James Schamus

Cast:         Logan Lerman, Sarah Gadon, Tracy Letts…and more

Writer:      Philip Roth and James Schamus

-Synopsis-

An American 1950s period drama adaptation of the Philip Roth novel set during the Korean War; following a Jewish teenager and his existential struggles with the world around him and the consequences of his decisions, after leaving familiar New Jersey for a mid-western college education and becoming emotionally entangled with a beautiful but troubled young lady.

After a 25 year career in Indie and mainstream cinema, writing and producing films for the likes of Ang Lee which include ‘Crouching Tiger, Hidden Dragon’ and ‘Brokeback Mountain’, not to mention being the CEO of Focus Features; James Schamus turns to literary master of the Jewish-American experience Philip Roth for his directorial debut, in an adaptation of his stark love story and unconventional coming-of-age drama.

Logan Lerman (The Perks of Being a Wallflower, Fury) stars as “Marcus”; a highly intelligent and somewhat introverted loner of humble New Jersey origins, Jewish by culture and association but an intellectual atheist by practice and keen to escape family headaches and an increasingly overbearing father, not to mention the US military draft, by attending a traditional and far away Ohio university.

But his best-laid plans of ploughing head-down through higher education are soon scuppered by the social demands of college living, and collegiate norms & and traditions at odds with his own convictions, putting him on a collision course with the university’s commanding dean (Tracy Letts). Made all the more confounding by an unexpected infatuation with fellow student “Olivia Hutton” (Sarah Gadon), a beautiful and cultured but emotionally troubled and damaged young woman, with the scars to prove it.

Part coming-of-age drama and part period romance, but an unconventional example of both; ‘Indignation’ is not your average high-melodrama piece, and apart from a couple of clichéd characterisations, it’s not a predictable story with a conventional dramatic arc. Instead this is a more pensive and measured microcosm of a particular element in the “American experience” at the height of cold war paranoia, through the eyes of a young man trying to make sense of the world.

Schamus’s adaptation is a fairly simple but no less captivating and affecting a human drama, a multi-themed and reflective but rather dark piece centred around a young precocious intellectual and romantic neophyte. Who is simultaneously introverted and combative, quick to stand his ground and unleash the wrath of his rather naive righteous indignation, at the first sign of his perceived freedoms being infringed upon.

Despite its simplicity though, ‘Indignation’ is a layered with plenty boiling beneath the surface of these more stoic and reserved 1950s characters; this is clearly a film about social repression and the struggles of growing up as someone on the fringes of society, and in a less understanding era.  It’s also an unsentimental pseudo romance, which only contributes to “Marcus’s” indignation about the many things he has to be resentful about, which can be collectively described as the infuriating demands of life.

At its core though, ‘Indignation’ is an self-exploratory existential drama, meant to inspire introspection as much as reflect a wider society, no matter what dark paths that might take you down. As the man says, this is a story about the little decisions we take every day, which combine with the random nature of life and its injustices to define your existence.

With British audiences having just been treated to Ewan McGregor’s own rather disappointing Philip Roth adaptation and directorial debut in the form of ‘American Pastoral’, it’s fair to say that Schamus’s crack at the celebrated author is a more captivating affair.

Sure like any cinematic adaptation of Roth, ‘Indignation’ struggles or even avoids trying to capture the depth and nuance of the book for a two hour moving-picture drama. The story is confined and the drama slightly stunted, with an often sedate and contemplative tone which could be too slow for some. We’re not privy to as much character depth and experience, and therefore opportunity, as the source material provides. And there are some distinct narrative changes, most notably the omission of the element which gives the story its name, and ultimately makes it tragically ironic.

But despite any issues as an adaptation or those which might prevent this from being an instant modern classic drama; ‘Indignation’ is still a highly accomplished piece of work which is poised, engrossing and poignant in equal measure, boasting a clever narrative sting in the tail and a final twist which brings the story full-circle to an affecting conclusion.

All thanks to assured first-time direction and exemplary performances throughout; from Lerman who impressively holds the film together, from Gadon whose restrained performance belies the deep trauma hidden beneath a beautiful young facade, and from Letts who cements his reputation as master of stern and charismatic authority figures.

The Bottom Line…

A simple yet nuanced and introspective period drama with a brooding tone, ‘Indignation’ is an welcomingly unconventional  coming-of-age story and unsentimental romance. While it may struggle to capture the depth of its source material, thanks to accomplished performances and an impressive directorial debut from James Schamus this is arguably the strongest Philip Roth film adaptation to date, and well worth your time.

Similar films you may like (Home Video)

American Pastoral (2016)

Ewan McGregor makes his directorial debut and stars in an adaptation of Philip Roth’s prize-winning novel; following the fate of a respected and successful Jewish-American man, whose idyllic life unravels after his daughter becomes politically radicalized in America’s period of social upheaval during the Vietnam war and Civil Rights struggles.

Directed by Ewan McGregor and starring Ewan McGregor, Dakota Fanning and Jennifer Connelly.

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