Welcome to the seventh and final edition of my latest Actor Profile, The Marvelous Brie Larson, a monthly series that has revolved around the silver screen performances of one of my favorite actresses. All good things have to come to an end, and as spotty as the posts have been I hope you’ve enjoyed the selections I’ve chosen throughout the year.
Brief recap of the feature: the posts weren’t very consistent and overall it seems I went 7-of-12 on the year (2 action movies; 2 comedies; 3 dramatic comedies) which kind of feels under-accomplish-y and lame. At the same time that’s an average of just above 50% and considering I haven’t yet filled an entire calendar year with roles from any actor I’ve featured so far (even though that’s the whole idea . . .) maybe I should be a glass half-full kinda guy on this.
Besides, looking back on roles I coulda/shoulda/woulda gone with, I’m actually fairly confident I covered the hits. The Glass Castle (2017) and this year’s Just Mercy, both of which reunite Larson with her Short Term 12 director Destin Daniel Cretton, are two notable oversights. Most of what I haven’t gotten to though seem to be bit parts in movies I don’t remember much about or at all (i.e. she was in Trainwreck?).
Which brings us to this month, where I’ve literally saved the best for last. Lucky #7 finds Brie Larson in top form in Room, this powerful and quietly devastating drama about a mother and son held captive in a backyard shed for years. Director Lenny Abrahamson adapts his sixth feature from the highly praised 2010 novel of the same name by Emma Donoghue.
Brie Larson as Joy Newsome/”Ma” in Lenny Abrahamson’s Room
Role Type: Lead
Premise: Held captive for 7 years in an enclosed space, a woman and her young son finally gain their freedom, allowing the boy to experience the outside world for the first time.
Accolades: Academy and Golden Globe awards — Best Actress
Character Background: Technically speaking Room is told through the perspective of seven-year-old Jack, played with incredible nuance and maturity by Jacob Tremblay in what proved a stunning break-out role for an actor yet to celebrate their tenth birthday (in fact Tremblay was about the same age as his character). His naivety undoubtedly makes Room such a powerful and heartbreaking experience, but you can’t talk about the movie without mentioning “Ma” and the role she plays in Jack’s venturing out into the big, wide world.
I can’t speak to how the character is in the book but Larson’s Joy/”Ma” is something of a wonder. She’s incredibly resolute and stoic, for years keeping her despair locked inside while providing pretty much everything for Jack a loving mother would with much more in the way of space and comfort. That is until “Ma” concocts a bold plan and Room breaks both into bigger, open spaces and into a devastating second half. You would think the part spent in captivity would be the toughest stretch to watch but it’s in the second half road-to-recovery — and all that that entails, emotionally, physically (haircuts, anyone?) and especially psychologically — where I had a hard time dealing. I attribute my discomfort to Larson’s powerful portrayal of the all-encompassing, long-lasting effects of PTSD. She’s at her very best in this movie. As she convalesces at her parents’ home she also unravels, burdened both by guilt — not helped by her own father (played by William H. Macy) refusing to acknowledge the “bastard child” — and her son’s confusion and anger. Room is a movie that shows how challenging the road to recovery can be, and yet for as unrelentingly bleak and difficult as it is to watch it also provides a beautiful tribute to a mother-son bond. This is a unique circumstance that proves the kind of storms unconditional love is built to withstand.
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