2009 | U.S. | 109 minutes
Director: Nick Cassavetes
Writers: Nick Cassavetes, Jeremy Leven (based on a book by Jodi Picoult)
Cast: Cameron Diaz, Abigail Breslin, Sofia Vassilieva, Eric Baldwin, Joan Cuzack
Distributor: Alliance Atlantis
Cdn video distributor: Alliance Atlantis
My Sister’s Keeper launches right away into it’s captivating story; desperate parents (Cameron Diaz and Jason Patric) engineer a test-tube baby as spare parts for their leukemia-stricken daughter, Kate. 11 years later, that baby is now their very bright and mature daughter, Anna (Abigail Breslin). Since birth Anna has endured a variety of painful surgical procedures to keep her sister alive, but now she’s being asked to donate a kidney. There’s no guarantee the procedure will work, but it will certainly make Anna’s future health less assured. So she retains a lawyer (Alec Baldwin) and sues her parents for rights to her body.
You might assume this premise would evolve into a story involving character conflicts, but this is a family that loves each other too much for that to happen. No, this is actually a conflict with something less tangible; inevitable death.
Death should have come knocking for Kate (Sofia Vassilieva) 10 years ago, but the love of her family (not just Anna’s body parts) have not only kept Kate’s body alive but her spirit too. It has bonded them together as nothing else could. But the grim reaper is a stubborn sort, and if it can’t take Kate, it will kill her family instead. Slowly and surely.
Already it’s destroying the parent’s marriage. Meanwhile Jesse, their son (Evan Ellingson), is pushed to the sidelines as everyone focuses their energies on Kate’s dilemma. Not to mention the bodily harm that Anna has to endure. Still, nobody harbours resentment about it all. But there is a growing acceptance amongst everyone — including the doctors — that the time has come to stop cheating death and rebuild what’s left of the family. Anna’s lawsuit is not so much about her rights, but a means to finally confront this fact.
The only one not ready to accept the inevitable is Mom.
The stubbornness of Diaz’s character is sometimes off-putting, but she never evolves into a character we can hate. What mother could accept the death of a child? In fact, this is that rare film where everyone is likable, including minor characters.
For example the judge in Anna’s case, played by Joan Cuzack, would have been a thankless role in any other film. Here she is given a backstory, as well as an unexpected opportunity to express her inner emotions about it. It’s a powerful wordless moment that is loaded with subtext. You can’t help but love her, as with everyone else in this story.
Death is the only villain of the piece.
My Sister’s Keeper is a marvel in how it handles its story. Every scene strikes the perfect note in how each character would likely react in a given situation. Co-writer/director Nick Cassavetes (son of actor/filmmaker John Cassavetes and actress Gena Rowlands) has clearly inherited his father’s mastery of replicating realism, but instead of long improvisational scenes (which his dad tendered to favour) Nick works from a very tight, well-structured script.
This is a story that has thought a great deal about the issues it raises, but doesn’t easily spell it out for us. It has so many layers, you’ll likely ponder matters long after the film is over.
The only thing that becomes taxing about the film is that the cancer issue is ever-present. Nearly every scene talks about it and, while worthy of seriousness, comic relief can be welcome element without being distasteful.
Thankfully there’s Tyler (Thomas Dekker). Tyler is a cancer sufferer too, and he becomes Kate’s boyfriend for awhile. He proves to be the best boyfriend a girl could ask for. All of his scenes are a pleasure to watch, provoking laughs, feelings of joy and signs of caring, without ever seeming forced. It’s a shame he disappears from the story when he does. It’s a logical exit — even necessary — but the film really benefits from his presence, and saves it from being a complete downer.
The ending is more a relief, than sad or tearful. The experience of watching it is much the same. Finally, the pain is over. Given its subject matter, it’s difficult to imagine how it could play out any other way.
NOTE: After posting this my sister-in-law, Teresa, pointed out that in the original book the story does end another way. To her the movie was a “huge disappointment.”
This might be a good excuse to tell a story I heard about John Cassavetes. It’s from the documentary I’m Almost Not Crazy, in reference to Opening Night which he wrote and directed. Cohort Ted Allan recalls seeing an early version of it that garnered thunderous applause from the audience. They loved it. Allan looks over at Cassavetes and notices he’s just sitting there, pale, and not very happy. This was clearly not the response he wanted.
Sure enough, for the next screening, the final 30 minutes of the film is recut and when it ends, the audience is silent. No applause. But Cassavetes is pleased.
Perhaps the apple doesn’t fall far from the tree after all.
- Theatrical release date: June 26, 2009
- Video release date: November 17, 2009
- Production Budget: $30 million
- Worldwide Box Office: $78,771,734
FUN ALTERNATIVE: Remember Tyler in My Sister’s Keeper? Whose Life Is It Anyway? is what the Cassavetes film might have been like if he was the lead character.
Richard Dreyfuss plays Ken Harrison, a successful sculptor with a beautiful girlfriend (Janet Eilber). Life is wonderful until — wham! — car accident, and he’s paralysed for life.
Now trapped in a hospital bed, he can see, smell and talk. That’s about it. He can’t make love to his girl — nor even hold her hand — and he certainly can’t do the one thing he loves most; sculpting.
At any other time in human history, his particular condition would have led to certain death. But, due to advances in medical technology, he can be kept alive. He doesn’t think it’s fair.
So begins his legal battle with the hospital administration to let nature takes its course.
For a film about a man bed-bound for its duration, it’s far more compelling than it should. What keeps it vibrant is the sense of humour Dreyfuss constantly exudes. Often times its silly one-liners — to keep his character’s spirits up — but it’s also his charming relationships with the staff, such Mary Jo (Kaki Hunter), a cute young nurse trainee, and John (Thomas Carter), a fun-loving orderly with a taste for marijuana.
The story naturally addresses the ethical issues his plight — and his mission — provoke, underscored by some strong emotional outbursts, but it’s the practical fun-loving moments sprinkled throughout that keep it from sinking into the doldrums.
One curious note: The main antagonist in this story, Dr. Emerson, is played by the aforementioned John Cassavetes, father of My Sister’s Keeper director/co-writer Nick Cassavetes.