WATCH THE TRAILER HERE
First, the Recap:
Those we admire, hold in high esteem, even idolize, can grant us a reality that is both an amazing place to escape to but yet also manifests the possibilities of disappointment. When placing another on a pedestal which, in our own minds, is unshakable, it only makes circumstances that cause this image to be compromised harder to bear–especially when experienced through the eyes of a child towards a beloved grandparent. Former rodeo champion and auctioneer Mac (Gorman Ruggiero) utterly adores his young grandson Brandon (Lukas Barnett), regaling him during the Summer of ’66 with tales of his past accomplishments and skills to pass along. Yet, underneath the surface, there are still elements from his past that linger which could threaten their seemingly eternal bond, even as the multitude of facets that life takes on and brings about come to bear, offering a challenge they will both have to face as Mac strives to preserve his impact upon Brandon.
Next, my Mind:
The magical connection there so often is between children and a doting grandparent is brought to heartwarmingly humorous, vividly candid, undeniably soul-stirring, wholly compelling life through this beautifully executed indie short film effort from writer/director/executive producer/composer Bradley Hawkins, writer Jake Stetler, producer Sarah Hawkins, and co-producers Ryan Geesaman and Lauren Zehr, delivering in its 28-minute runtime a story that will reverberate with profound resonance within virtually anyone who’s ever had that deeply cherished relationship with a relative who’s guided, supported, encouraged, and influenced them in their younger (and perhaps adult) years to an extent that makes any notion of NOT having them around a FAR distant concept to consider. Truthfully, it is these precise kind of thematic tangents displayed in this film that are needed more, because we still always need to realize that no matter who we might look up to–the actuality is that they are still only human.
As witnessed through the eyes of a starry-eyed boy who’s totally enamored with his grandfather’s exciting accounts of days gone by to the point of even emulating and/or being directly instructed in them, relishing every moment with a fervor and joy as only a child’s untainted integrity can produce, the narrative flows along with excellent purpose in illustrating both the highs and lows of the pair’s interactions. Infuse this with an overall portrait of family values and the importance of close knit kinship that weaves an affecting fabric of necessary potency between all the characters involved, especially grandfather and grandson, it’s the style of narrative we are in such desperate need of these days, no exaggeration. To view sheer happiness, that unguarded wonder, the strength of delight in the freedom such ties manifest, one cannot help but smile and allow the soul to sink into events like a warm blanket of positivity. It keeps your attention from start to finish, which is integral to any well-conceived film.
But, what I also applaud about such explorations being presented is when the credibility and grounded nature of these elements are accompanied by both subtle and blatant examples of just how imperfect we are as people, even when the surface appears “perfect”. Topics such as PTSD, addiction, and one of the most difficult ones any of us must confront–mortality–are given their moments on screen, and it is only made more formidable, fully convincing, and dynamically dramatic because of the dueling perspectives being shown, one through the purity of a boy and the other via the stubbornness of an adult set in his ways but also having to face his own faults for the SAKE of the image he truly wishes to present to the former. Watch the film to see how this all plays out and those additional themes are intelligently intermixed into the narrative, but suffice it to say, by the time we’re at the effort’s finale that impacts you on multiple levels–well, let’s just say for this critic, the floodgates opened and I was left with such a pronounced sense of bittersweet gratification. Smartly done.
Ruggiero is simply charming and completely believable in his role as Mac, a grandfather whose affection and attention towards his only grandson while visiting the family home in Pennsylvania is all too obvious in the best of ways, never shying away from telling a tale of his past in rodeo competition, watching a good old fashioned Western, or just being a happy as can be person in general while they spend time together. Yet, even as he does his best to share nothing BUT fun (and MAYBE a LITTLE innocent mischief) with Brandon, there are moments which arise that give the hints of inner struggles Mac has endured over the years, too. While his wife and his own grown daughter and her husband (Brandon’s parents) see it, even trying to remind him to watch himself, it doesn’t deter Mac from concentrating on being as real and grounded with Brandon as possible, more so when he’s called out BY him directly. It’s a fluctuating, emotionally charged journey Mac is on with himself and Brandon, with Ruggiero deftly portraying these states of being, whether conspicuous or muted, exuding quiet and exuberant energy as the instances call for it. A fantastic, heartening performance throughout.
Not to remotely be outdone here by any means, Barnett makes his screen debut and does so with a delightfully vibrant, unequivocally rousing yet also so acutely mature and moving performance as Brandon, a young boy elated to be spending quality time with his grandfather whom he more than evidently looks up to and desires to be like. Captured by every word his grandpa speaks while diving in with everything he has to soak up all the knowledge and skills he’s being taught, Brandon has his best friend well in hand. But, in the midst of seemingly never-ending glee, there lie other times that cause Brandon to question certain realities both around him and with Mac in particular which open up whole new and untested waters for him to navigate and attempt to understand. Despite this, it never upends Brandon’s pursuit of hope and exhilaration during the time he drinks in with Mac, not even realizing just how powerful the connection they share will affect him down the road. It’s an amazing performance Barnett gives, solidly cementing in our minds the film’s focal points and intent.
Primary supporting roles arrive first through Avery Kellington as Mac’s wife/Brandon’s grandmother Corah, a woman who seems firm yet doting while being highly aware of her husband’s battles that don’t go unnoticed or unaddressed by her as she watches his bond with Brandon grow and grow. Jackie Walker and Ryan Cassidy portray Sarah and Thomas, Brandon’s parents, who likewise see through some of Mac’s unwillingness to tackle or make better efforts to overcome his shortcomings that need to be done away with, at minimum for the sake of Brandon. Additional appearances are made by Logan Donaldson, Brock Beltz, John Carl Jr., John Rudegeir, Mason Hostetter, Jeremy Good, Joshua Lamason, Fallon Albert, Carter Geesaman, Chase Jennings Gray, Logan Koch, Drew Martin, Max Peña, Samuel Peña, Landon Mak, Shelly Lynn Koch, Ross Burton, Julie Pyle Childs, Dorothy Smith, Ryker Geesaman, Marlin Detweiler, Ava Detweiler, and via voice only Ivy Carl.
So, in total, “Calf Rope” soars high as a much needed breath of fresh air and good-natured merriment, enchanting us from the start, and delivering a title that goes far beyond its foundational definition but not at the cost of being transparent about the actualities life throws our way that are both in and out of our control. It’s a lesson in perceptions, influence upon others, the dominance of human ties, and the necessity of recognizing a most relevant piece that brings it all together–leaving behind a lasting legacy.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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