Two men are talking in a small room. One is a college professor, a devout atheist, and suicidal. The other is an ex-con, deeply religious, and just recently saved the other's life. They decide to hash things out, break them down into black and white - which seems appropriate since they are indeed named (or at least referenced as) Black (Samuel L. Jackson) and White (Tommy Lee Jones). Thus we have the set-up for the stage play turned TV movie The Sunset Limited. Written by noted author Cormac McCarthy (The Road, No Country for Old Men), it has been translated into a kind of My Dinner with Angry Andre, a meditation on life, death, humanity, and pain prickling with priceless, perceptive dialogue. If you are looking for insights, this work is overflowing with them. If you want action packed drama, well...
White has just tried to throw himself off a train platform. Black stepped in and stopped him. At his request, the two end up in his sparse NYC apartment, trying to figure out what just happened. White doesn't want to live anymore and Black picks up on that idea rather quickly. It's not long before they are arguing over God, the fallacy of religion, the selfishness of suicide, and other big picture concepts. Of course, the narrative opens up a bit with the reveal of more personal information, but for the most part, The Sunset Limited is about ideas, not individuals. From the representative names to the symbolism instilled in both race and demeanor, there are dimensions here that transcend the approach - and, sadly, that are trapped by them.
For his part, Jones delivers on two fronts. First, he gives the kind of rock solid old salt performance that has more or less highlighted his post-Oscar win career. With a craggy face and instantly recognizable cadence, he is ready to take on any who would try to disagree. Enter Jackson, who is more than up for the vocal exercise. It was wise of Jones to cast him (yes, he directed this offering as well) since he brings the necessary urgency to countermand his costars countrified persona. Everything about The Sunset Limited is written in contrasts: skin color; belief; approach to life; education; lawfulness; personality; individual philosophy. McCarthy is clearly using it as a device. More importantly, however, Jones doesn't shy away from it. He draws the distinctions early and then adds more levels along the way.
There is an electricity here that is hard to deny. There is also a stagnant, stagy quality. McCarthy subtitled the work "a novel in play form" and he seems to be happy to do little except make up conversations for these clashing idealists to have. There's no sudden shift into the open streets or some other location. Jones does his best to keep things 'moving,' but the truth remains that this is a two man experiment which will connect with some while alienating others. Sure, there are film fans who don't mind having their brain fed along with the prerequisite cinematic eye candy. Here, there is nothing sweeter than Jackson and Jones.
In the end, The Sunset Limited feels like a very entertaining lecture. We learn a lot, have our own viewpoints supported and challenged, and draw conclusions both finite and unfair. For their part, the actors come across as brilliant and brave, recognizing the limits inherent in the approach and never once using them as a crutch or to complain. No matter what you think - god or godless, life or lifeless, Black and White will reinterpret your opinions and make them their own. It's what turns the claustrophobic into a celebration.
For his part, Jones delivers on two fronts. First, he gives the kind of rock solid old salt performance that has more or less highlighted his post-Oscar win career. With a craggy face and instantly recognizable cadence, he is ready to take on any who would try to disagree. Enter Jackson, who is more than up for the vocal exercise. It was wise of Jones to cast him (yes, he directed this offering as well) since he brings the necessary urgency to countermand his costars countrified persona. Everything about The Sunset Limited is written in contrasts: skin color; belief; approach to life; education; lawfulness; personality; individual philosophy. McCarthy is clearly using it as a device. More importantly, however, Jones doesn't shy away from it. He draws the distinctions early and then adds more levels along the way.
There is an electricity here that is hard to deny. There is also a stagnant, stagy quality. McCarthy subtitled the work "a novel in play form" and he seems to be happy to do little except make up conversations for these clashing idealists to have. There's no sudden shift into the open streets or some other location. Jones does his best to keep things 'moving,' but the truth remains that this is a two man experiment which will connect with some while alienating others. Sure, there are film fans who don't mind having their brain fed along with the prerequisite cinematic eye candy. Here, there is nothing sweeter than Jackson and Jones.
In the end, The Sunset Limited feels like a very entertaining lecture. We learn a lot, have our own viewpoints supported and challenged, and draw conclusions both finite and unfair. For their part, the actors come across as brilliant and brave, recognizing the limits inherent in the approach and never once using them as a crutch or to complain. No matter what you think - god or godless, life or lifeless, Black and White will reinterpret your opinions and make them their own. It's what turns the claustrophobic into a celebration.
