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Le réalisateur Marc Foster nous plonge avec cette histoire dans un océan de douleur. Dans l’atmosphère moite du sud des États-Unis, Leticia (Halle Berry) tombe amoureuse d’un homme, rencontré alors qu’elle emmenait d’urgence son fils obèse à l’hôpital, qui s’avère le responsable de l’exécution de son mari. Cet homme, Hank, c’est Billy Bob Thornton, l’un des acteurs les plus surprenants du moment. Thornton joue tout en retenue, un style dans lequel il excelle, comme il l'avait déjà prouvé dans The Man Who Wasn’t There, des frères Cohen. Il est la pierre angulaire de ce drame où ambiance poisseuse, paralysie des sentiments et racisme quotidien sont portés par la mise en images acerbe de Marc Foster.
Grâce à une réalisation nerveuse, un sens de l’ellipse tout à fait opportun et une direction photo pleinement maîtrisée, le premier long-métrage de Foster est une œuvre assez aboutie, malgré une fin abrupte et un jeu parfois hystérique de Berry, qui détonne avec l’ensemble. Monster’s Ball reste tout de même un film dur, haché, dépeignant sans maquillage le quotidien tout en paradoxes de personnages battus par la vie. --Helen Faradji
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Customer Reviews
As for the film itself, it grabs you from the beginning and doesn't let go. The mood it establishes, supported by an excellent musical score, almost hypnotizes you. I was disappointed by the ending, however. It seemed abrupt and gave me a feeling of incompleteness concerning the film. The fact that there wasn't much dialogue to uncover the characters along the way only added to this feeling (I felt like I was only starting to get to know these people and then . . . the credits roll). But, again, it was the mood, not the dialogue, that makes this movie work.
The performances are all marvelous. Thornton and Ledger maintain a quiet anger and sadness, Combs and Peter Boyle (as Hank's racist father) are both great in brief supporting roles, but nothing compares to Berry. Usually typecast as the beautiful girlfriend or token black character, she brings exquisite calibration to her work, a raw fear combined with pride and numbing insecurities. She also has some stunning hysterical moments in the film, when she realizes who Thornton's character is and when she finds out her son is dead at the hospital. The latter moment emblazons itself on your memory, as she bangs on the glass screaming with gutteral howls "My baby! Please don't take my baby!" before collapsing into a heap. Berry, despite some recent poor script and genre choices, proved herself in this film, winning a well-deserved Oscar as Best Actress in a Leading Role against such contenders as former winners Sissy Spacek and Judi Dench. Berry's performance ranks among the best in recent memory.
Excellent acting and good writing make this film easily one of the finest of the last few years.
Billy Bob Thornton plays the unfeeling, unemotional, robot of a man... Read more
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