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First, the Recap:
Parental bonds. Parental control. Misguided notions of “what’s best”. There cannot be any dispute that, whether stormy or serene, the relationship between a child and a parent (or parents) is paramount to either ideal comfort or complete chaos. As circumstances tend to dictate the atmosphere a child is exposed to when it comes to time spent being raised by those who are supposed to set the tone, the example, of what it is to live in this world and how to conduct oneself, the result can be radically beneficial–or inexorably harmful. Then, what does it mean for precisely how a child will choose to react, and what is left stirring in their mind in the wake of it? It is Halloween, and for one 10-year old son (Gordon Rocks) attending a holiday-themed carnival with his father (Charlie Chaspooley Robinson), this will all be put to the test when an encounter with a magician (Robin Channing) becomes a harbinger for poor choices and an ultimately disheartening aftermath.
Next, my Mind:
Let’s not get me wrong in asking this up front, but what IS it about the film arena lately that tends to lean so heavily on subjects and overall tones in what’s being portrayed that remains doggedly focused on weightier, even overtly somber, excursions into the human condition? Well, at least in this critic’s opinion, the answer is–it’s the all-too-relevant reality that reflects the world as it is today. Period. And it is due to such solemn but substantial truth that allows these films to have what I hope is the intended impact upon our conscious minds, hearts, and souls to become compelling lessons in what we truly need to improve upon AS human beings. Even in fictional context displaying these aspects of our existence, there is far too much verity in it to be able to just dismiss things shown as mere entertainment or pointless cynicism. Indie film isn’t about that, and it’s proven once again through the 17-minute Oscar qualifying short film from writer/director Rachel Walden, producer/editor Luca Balser, producer Pauline Chalamet, co-producer Neil Sauvage, plus executive producers Bennett Givens, Lily Givens, Mac Grant, Josh Jason, and Chad Tennies.
Very much carrying an atmosphere and somewhat similar baseline premise, altered here by the circumstances depicted, as was illustrated in another Oscar qualifying short “Two For The Road“, the narrative which follows a father and son ending up engaged in a decidedly bad decision that frenetically then calmly but heartbreakingly spirals even further down a road of equally erroneous judgment calls with no clear indication of anything actually having hope of getting better for either party involved, the film does a undeniably fantastic job in executing its storyline in a manner that punches you in the face with both jarring and yet SOMETIMES briefly experienced heartening sentiment and intent. It’s the sheer dichotomy of watching the ever-fluctuating but inevitable deterioration of that relationship between father and son, with one showing they’re actually concerned for the other’s well-being even as his perceived “hero” is painfully proving to be blatantly opposite and the other who SHOULD be the more responsible, aware, and discerning figure in control who’s anything BUT these facets of parenthood.
It’s difficult to witness a young child’s disillusionment be what gets nurtured instead of genuine care, as he must endure what he does at the whim of someone who’s entire notion of right and wrong is massively amiss, not remotely able to manage HIMSELF much less, sadly, his OWN child. This gives way to thematic elements centering on confusion, mixed signals, honestly shocking imprudence, immature attitudes, compromised values, and decisions that no child should ever have to make along with the actions that must follow, ALL seen THROUGH the eyes of youthful innocence that is being summarily poisoned forever. By the film’s finale, events have NOT improved, and it is an ending that leaves you unequivocally upended and disenchanted by the burden in spirit you tangibly confront as you take in what’s occurred. But, again, FEELING this way despite what’s lead to it still stands as a testament to just how WELL executed this film is in making the points it does. The visual presentation is purposefully grainy and home movie-esque in its imagery, which only adds to the absolute starkness to match the effort’s narrative direction.
Do I yet another time find myself in a place where I must exclaim exactly how impressed I am with the pool of young talent out there and their ability to take on roles that really do require acting both within and beyond their age? Yes, I do. Here, it comes via Rocks through his performance as a 10-year old boy who is only attempting to enjoy a day with his father at a Halloween carnival but then finds himself at the center of chaos, growing bafflement, and utter discouragement when his Dad makes a bad decision and sends the pair on a journey of upheaval and sadly revealed apathy. Forced to involuntarily and frustratingly become the “grown-up”, the son’s perception of his father becomes one of total failure, transforming his life in the present and for sure moving forward, much less then having to make a startling discovery in the midst of it all that will likewise shatter his viewpoint even more. It’s an amazing performance by Rocks to embody this turmoil so well and wear the emotional volatility in a way that remains do understated but so potently fervent.
Then we have another kind of testament to acting ability from Robinson through his role as the father, a man CLEARLY not really thinking about the welfare of either himself or his child when perpetrating a petty theft at the carnival that he most likely has rationalized in his mind was done in DEFENSE of his son in the situation at hand. Even as he takes them both away from the epicenter of the incident, the remainder of their shared road trip is only filled with further meaningless tries to gloss over the event much less while trying to come across somehow as a good parent. But, the more he showcases how he is NOT comprehending or at all sincerely invested in what is happening along their subsequent journey home nor how it is so drastically and negatively impacting his child, it can only lead to the end that it does. It’s a character you one hundred percent love to hate, and the degree of unmitigated carelessness that Robinson imbues the father with just OOZES with that sense of animosity you feel towards him, again, a superb credit to how adeptly the actor’s skills are in full gear.
Supporting roles arrive from Robin Channing as the magician at the carnival who turns into an unanticipated catalyst for the stormy seas to erupt during his interactions with the pair, Jordan Thomas Alexander is a carnie whose assisting the magician and gets unceremoniously entangled in the incident, Emily Costantino is a worker at a roadside produce stand who catches the father’s eye much to the quiet disconcert of his son, and Leyla Nuritova as a waitress at a diner the pair stop at and who has a brief interaction with the son that very much carries some emotive power given all that’s transpiring. So, in total, “Lemon Tree” is an admittedly hard to absorb, deeply provocative short film that is willing t0 boldly, indelicately but frankly plumb the darker side of parental irrationality while also candidly seeing it through a child’s shattered image of someone he’s always admired, ideally in doing to I feel to be that gut-wrenching reminder of just HOW aware we need to be when it comes to the state of affairs between parents and their progeny, hoping that the trend is more towards the better and NOT towards what we see here.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
