These ‘Brothers’ shine

The similarities are eerie. The nation’s in a state of turmoil, debate is raging across the land, and the economy is suffering. No, this is not a snapshot of today, this was the late ’70s when Hollywood dove whole hog into the Vietnam War era. “Apocalypse Now” and “The Deer Hunter” were epic studies of the psychological damage inflicted upon the men and women that served in that confusing, needless conflict. Both of these films attained classic status and are still lauded by both fans and critics alike. This year has brought forth three hard-hitting films taken directly from the headlines concerning our involvement in both Afghanistan and Iraq: “The Hurt Locker,” “The Messenger” and this week’s selection “Brothers.”

Director Jim Sheridan (“My Left Foot,” “In the Name of the Father”) brings his minimalistic style to this tale of the toll taken on one family due to America’s involvement in Afghanistan. Capt. Sam Cahill (Tobey Maguire) is a well-respected pillar of his community. He comes from good Marine stock; his father Hank (Sam Shepard) served during the Vietnam conflict. A combat veteran, Sam plans to redeploy back to Afghanistan to lead his men. At home, Sam is an attentive father to Isabelle (Bailee Madison) and Maggie (Taylor Geare) and model husband to wife Grace (Natalie Portman).

Sam’s brother, Tommy (Jake Gyllenhaal), is another story. Tommy is the son that just could not get it right, a fact that father Hank never allows Tommy to forget. Prior to deployment, Sam picks up Tommy upon his release from prison and helps his brother get settled back into life at home. Both Maguire and Gyllenhaal are up to the task of fulfilling Sheridan’s vision. Sheridan, who has worked with Daniel Day-Lewis on three occasions, including two Oscar-nominated performances, is no stranger to brilliance. He pushes both of these young men to the breaking point in this film, garnering the greatest performance of Maguire’s career.

Cahill returns to Afghanistan and is lost in a helicopter crash. His family is informed that he is a casualty, and the grieving begins. Unbeknownst to those stateside, however, Cahill has survived the crash and is currently a prisoner of the Taliban in Afghanistan. Sheridan masterfully handles these duel plot lines, mixing together the sufferings of captured Cahill with the redemption of the black sheep Tommy. Gyllenhaal’s character steps up to fill his brother’s vacant boots by helping sister-in-law Grace and the children salvage some portion of a normal life. Portman and Gyllenhaal truly shine throughout this chapter of the film, thus laying the foundation for the inevitable return of the supposedly lost Maguire character.

“Brothers” shines from start to finish, and one should not be surprised to see both Maguire and Shepard on Oscar night. The film is thoughtful and powerful, choosing not to become preachy either way concerning the war. It offers a true snapshot of the suffering of not only those deployed but also those left behind to try and make a normal life while constantly waiting for news of a loved one. And with the recent tragedy at Fort Hood, perhaps this film may never be more poignant than at this very moment. “Brothers” succeeds as both a terrific film, and, more important, as a vehicle to bring these equally painful injuries to a very necessary light.

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