INNA DA REEL: Online Review of Jack & Ella
by Lincoln Thorne
May 2003

It's fascinating what happens when members of two cultures get together; a dysfunctional gathering of friends and family some how rears its ugly head. HA! Inevitably, dark secrets come to light, intrigues are put into motion, old rivalries are renewed, and new revelations change existing relationships. Some films tackle these ingredients far better than others. Handled poorly, this material can be the foundation of a painfully trite motion picture. Executed intelligently, however, it can have a profound impact. Brenda Keesal's Jack & Ella is one of these cinematic explorations on this subject, and the result is unsettling.

The idea for this film started eight years ago as explained to me by Writer/Director Brenda Keesal- as a flash of images. An African male and Jewish woman - running. Literally crashing into one another in more ways than one. The reason for their actions, and the repercussions from it, form the basis of the shocking and painful events that transpire during the hour and a half. In the midst of repressed hysteria, expensive booze and love-starved lives, Jack makes a startling accusation, and, even as the disbelieving guests are choosing sides, the film slowly unwraps the truth.

One of the key elements of Jack & Ella is the style in which it is presented. Filmed using a digital camera with natural lighting and melodic sound-scapes, Keesal's approach mimics the look of a home movie. The effect is to make the viewer feel like he or she is part of the action; an impotent observer standing amongst all of these individuals. It is a sometimes-unnerving experience. The characters become real to us, and their actions take on an importance they would not if the circumstances seemed less intimate.
The script, which transcends the clichés of the genre, is another reason for Jack & Ella's success. Writer/Director Brenda Keesal has penned a tight, taut screenplay that addresses twisted family dynamics in an immediate way, by combining effective drama with an undercurrent of dark humor. The film touches on issues like child and spousal abuse, racism, and revenge, and, in the process, it shows how difficult it can be to differentiate between love and hate when the line between them becomes blurred.

Jack & Ella features a gallery of memorable characters. First and foremost is Jack, the quiet, passive son. Played with coiled intensity by Henri Pardo, he has a haunted-but-determined look in his eyes. By nature, Jack is not the kind of man who seeks a confrontation, but this is one struggle he cannot run from, and Suzie does an excellent job of conveying his unease. Jack's inspiration is Ella, who is played by Amy Sloan. She uses her skills as an actress to bring her alter-ego to life. Drifting around a white suburb against the pressures of being Jewish and in love.

Keesal's portrayal also presents Suzie- the house decorator (Naomi Levine) as an outspoken, vivacious queen who takes over Jack and Ella's lives (and anyone else's) while avoiding her own. It is unclear how deeply the events that molded Ella's life affected Suzie's development, but there is clearly a link. She is a portrait of camouflaged sadness. The other major characters, are something of an enigma. Undaunted by the limitations of the main characters plight, Keesal gives human dimensions to Jack & Ella, that in another movie, might have been a banal repeat.

Jack & Ella has been cognate to the kind of films, "Happiness," "The Celebration," " The Idiots,," etc., that are challenging motion pictures. Not only do they share a stylistic approach, but they are emotionally draining. Jack & Ella rips apart the placid facade of a
familiar subject, leaving its audience stunned.

As difficult as the film can at times be, the patient viewer will be rewarded.

Coming soon ..... FADE TO BLACK FILM FESTIVAL
NOV. 21/22-2003