Apocalypse movies are usually overblown, CGI-heavy blockbusters meant for shock and awe, but “Take Shelter,” the second film from director Jeff Nichols, has little in common with typical catastrophic films. With a few minor exceptions, “Take Shelter” turns the genre upside down and sets a new standard for arthouse thrillers.
What prevents “Take Shelter” from being lumped in with all the other apocalyptic movies is the attention Nichols pays to all the aspects of filmmaking. The soundtrack, the scenery, the clothing and makeup all contribute to the inescapable gloom that fills each scene. Visually, the simple, colorful beauty of the scenery contrasts with the pale, ghostly appearance of the characters. The film's score is menacing and foreboding, yet it's the silences that is most meaningful.
The film focuses on Curtis LaForche (Michael Shannon, “Revolutionary Road”), a blue-collar construction worker in rural Ohio who experiences apocalyptic visions and dreams. He keeps them secret from his wife, Samantha (Jessica Chastain, “The Tree of Life”), and from the rest of the town. His deaf daughter, Hannah (Tova Stewart), watches her father suffer in silence. As Curtis's visions get worse, it becomes harder for him to hide his fear. He begins restoring an unused tornado shelter in his backyard, and as his dreams become more vivid and frequent, the underground space remains the only place he is safe from them.
“Take Shelter” remains absorbing despite its slow pace because of the reality of Curtis's hallucinations. There are no shots of famous buildings crumbling to the ground or entire cities disappearing into cracks in the earth. It takes more than a little while to determine whether the scene takes place in real life or not. The dreams never feel gratuitous, nor do they seem far-fetched. Nichols preys on modern fears of home invasion, car crashes, kidnapping and other parental anxieties.
There are many plotlines that should be contrived and unsurprising, but Nichols makes them feel original and unexpected. As the visions become more violent, the ordeal puts a strain on all of Curtis's relationships. The uneasy interactions between Curtis and everyone in his life set the whole movie on edge.
Shannon's performance as Curtis is forceful, but quiet and nuanced as well. The internal battle he fights over his condition is masterfully communicated through Shannon's expressive body language. Curtis is a loving family man, but cannot compete with the persistent visions. Similarly, Chastain is remarkable as Samantha, especially in the final scenes of the movie. The way Samantha deals with the difficulties of having a deaf child is realistic and relatable.
This film creeps under your skin and stays there. After a while, each corner seems like it's hiding something. Nichols pays special attention to the details of small-town life, from the dinnerware on the table to the dusty, beat up pickup trucks in the driveways. None of the men are particularly handsome, nore are any of the women overtly glamorous or stylized. It's startling when you realize how mundane the situation is. This is Anytown, USA, and no one is safe.
thescene@theeagleonline.com
