The idea of a beefy, middle-aged construction worker becoming entranced by community theater sounds daffy, at best. In execution, however: wow.
Directed by Kelly O’Sullivan and Alex Thompson, from an original screenplay by Kelly O’Sullivan, Ghostlight begins inauspiciously, somewhere between the coasts, in a location of no particular distinction, aka Flyover Country.
As those of us who live in Flyover Country know, most movies feature uncommonly good-looking people, unfold in gorgeous locations, and function solely as fantasy fodder. Ordinary people live ordinary lives that don’t usually make for very good movies.
From outward appearances, Dan (Keith Kupferer) is an ordinary construction worker, married to the devoted Sharon (Tara Mallen), an ordinary housewife. They are parents to Daisy (Katherin Mallen Kupferer), an ordinary, rebellious teenager who is at the phase of her life where she loves to slide profanities into everyday conversation as a means of provoking a reaction from her parents. And they always oblige: “Daisy!”
So far, so ordinary, until one day when a woman interrupts Dan on the job to ask him to keep the noise down on the street where he’s doing construction work. Eventually, Dan will learn that the woman is Rita (Dolly De Leon), a member of a local community theater group that is mounting a production of Shakespeare’s Romeo and Juliet.
Very soon, Daisy manifests disruptive behavior that is indicative of deeper issues surfacing. Likewise, Dan manifests deep-seated anger that erupts like a volcano, sometimes arising out of the blue, without warning, and with minimal provocation. Meanwhile, Sharon must navigate between the two of them as she seeks to keep the family together, but at what cost?
The beauty and strength of the film begins with O’Sullivan’s script, which creates characters who may look ordinary, yet are infinitely believable and genuine in their words and actions. Transcending their natural ties, Keith Kupferer, Tara Mallen, and Katherine Mallen Kupferer elevate their family chemistry to create an indelible impression on screen. They are simultaneously ordinary and extraordinary.
The narrative leans heavily upon the supposedly unforeseen similarities between Shakespeare’s classic play and the real lives of the family, which is the heart of the movie. Sometimes it cuts too close to the bone, in a manner that is a bit heavy-handed.
Then it dollies back to observe from a middling distance, and all the pieces fall easily into place, without strain, aided and abetted by the extraordinary and precise performances, as well as the light-handed direction by Kelly O’Sullivan and Alex Thompson. Ghostlight is a gift that keeps on giving.
The film opens Friday, June 21, throughout Dallas and Fort Worth. For more information about the film, visit the official site.
Dallas Film Now. 