Jennifer Connelly learns a hard lesson about the dire consequences of not reading your mail in this dramatic thriller from director Vadim Perelman based on the hit novel by Andre Dubus III. Connelly’s Kathy Nicolo is a recovering addict too depressed to even get out of bed most days, let alone deal with the letters that have been piling up since her husband split eight months earlier. After ignoring several notices about an unpaid business tax, Kathy is evicted from the Northern California bungalow she inherited from her father. Though the tax turns out to be a bureaucratic gaffe, the house is nevertheless sold at auction for a fraction of its worth to Massoud Amir Behrani (Ben Kingsley), a rigid former Colonel in the Iranian Air Force. Behrani, who lost everything when he and his family were forced to flee their homeland, sees the house as the fulfillment of the American Dream and refuses to sell it back to the county even after he learns of the tax mistake and Kathy’s plight (she’s living out of her car).
What begins as a battle over a modest piece of real estate quickly escalates into all-out war between the two desperate parties, culminating in a somewhat unbelievable series of events that tests the limits of reason — somewhere near the middle of the third act, you may find yourself wondering how a little fixer-upper could be the root of so much tragedy. That “House Of Sand And Fog” manages to be compelling despite a host of implausibilities is a credit to the lead actors, both of whom bring such conviction to their roles that what transpires almost seems feasible. Connelly, once known more for her pretty face than her acting ability, continues the career turnaround that began with her Academy Award-winning performance in “A Beautiful Mind.” It’s likely that the part of Kathy Nicolo will provide the 33-year-old actress a shot at a second Oscar. Kingsley is equally fine as the once-proud military man who’s been reduced to working menial jobs to support his wife (Shohreh Aghdashloo) and teenaged son (Jonathan Ahdout). Credit also goes to cinematographer Roger Deakins (“The Shawshank Redemption,” “O Brother, Where Art Thou?”) for the simple yet beautiful compositions in what is one of the best-looking movies of the year. (Rated R for some violence/disturbing images, language and a scene of sexuality. Running time: 126 minutes)
Originally published in the Santa Monica Daily Press print edition on December 24, 2003. Read the original PDF.