Reviews

This wasn't particularly exceptional, in my view, but was very well done for what it is, as a light comic drama. Yes, it is a feel good type of film, and even commits the sin of having a happy ending. If you would prefer to see a tale of violent vengeance, of some sort or another, this isn't your film. And, if you are a fan of car chases...you may have to settle for a horse and buggy.

And while this has one or two moments which are a bit contrived, or even slightly preachy, or maybe even after-school-specialish, on the whole it isn't too heavy handed. And a genuinely interesting story, as well as some solid performances (especially by Lisa Pepper as Sarah), make this a worthwhile effort.

On the downside, the available material as far as culture clash, individual and group identities, and the relationship with the outside world isn't too deeply mined, and we instead get a surface treatment with a few symbolic moments which seem to be treated as needed plot devices, rather than moments for a deeper exploration of character or human behavior. The story and characters could have benefited from a more thoughtfully developed script in some of these moments.

But the writing is stronger on the subject of family relationships, which is more the focus here than the relationship with the outside world. And the film does well here, exploring Sarah's relationships with her departed sister, with the man who wants to marry her, and with the family she had for too long lost contact with. The least engaging performance there may have been Tom Tate, as Bryan. But while he does come across as a bit wooden, and dull, that is pretty much what the character required. It is obviously part of the message of the film, that Sarah at times hasn't been as appreciative of the plain, but reliable and virtuous Bryan as she maybe ought to have been.

And, ultimately, the film itself takes on some of the same characteristics it seems to admire in Bryan and in the Amish. It is a bit simple, and at times dull, and at others a bit too preachy, but overall solid, reliable, and well intentioned, and able to find joy in the simpler pleasures of life.

Perhaps I shouldn't be surprised then that this was directed by Michael Landon, Jr. The overall approach is similar to that of the "Little House on the Prairie" series in which his father starred. You might add or subtract a star or two according to whether that appeals to you.

Whatever the limitations of the genre however, this type of family entertainment can be done poorly, or it can be done well, and this example is at least above average.

This film stands apart from the standard, sometimes clever, seldom memorable work that passes too often for Oscar fare nowadays. It is a film about life and death, love and betrayal, passion and pain, forgiveness and redemption. It is about the power of emotion to influence perception and memory. It is about justice and truth.

But that is not why you should see it; You should see it for the story. For this film is so finely crafted, and the story unfolds so naturally, that it is easy to appreciate for the simple compelling drama of the narrative. You care about the characters, you care about how the trial turns out, and you ache to know the truth.

The plot centers around a murder trial of a Japanese man charged in the death of a local fisherman, and on a white reporter covering the trial. It turns out the reporter had once been in love with a Japanese woman, now the accused man's wife. This romance was shattered as World War II broke out, and the young woman and her family were rounded up with other Japanese Americans, and interred in camps.

The story that unfolds is part "Casablanca", part "Amistad", part "To Kill a Mockingbird", yet wholly original and true to itself. It is at once a tender love story, a lesson in history, a murder mystery, and more.

The story of each of the main characters is told through flashbacks that reveal how each of them has suffered because of the war and how each has to overcome this suffering. Many of the most compelling images of the film occur in these flashbacks. Like real lasting memories, they are moments of deep emotional significance, and include many images which you will carry in your own mind long after you have left the theater.

If you look for them you may also find some symbolic or allegorical images in the film (the boat's mast resembles a cross; the fish could also be seen as a Christian symbol of sacrifice), but these elements are not heavy handed or forced, they occur naturally as important elements of the story which is set in a small fishing village on the Northwestern coast of the US in the years surrounding World War II.

While I have seen many reviewers comment on how beautifully filmed and well acted this film is, I have seen a few who have somehow failed to appreciate the significance of the story. My only caution on this account is, take care that you are not so blinded by beauty, that you fail to notice love.

In short, I found this to be a brilliant, deep, uplifting engrossing, and highly satisfying film experience.