Redemption Part Two: Jacob's Ladder, Reviewed

When we seek atonement for our mistakes (either perceived or actual) often we strive to make amends to the person we feel we've wronged, yet at the same time we forget to forgive ourselves. This sounds harder than it is, actually. We tell people to let go all the time without realising that for two simple words, they carry a whole lot of weight.

Forgiveness and letting go are also themes explored in Adrian Lyne's Jacob's Ladder. Filmed in 1990, it tells the story of Jacob Singer (Tim Robbins in a smashing role) a Vietnam war vet who begins to have strange experiences after enduring a near fatal wound in battle. As the visions get weirder, he begins to realise that not all is what it seems with his life, and that the reality he seeks to cling to so badly may just be another illusion. Based on a screenplay by Bruce Joel Rubin, I would have to say that after watching this, suddenly Night Shyamalan doesn't seem so hot anymore.

I would be remiss if I were to include spoilers of any kind in this review, simply because I think anyone who enjoys a cerebral yet disturbing journey into life (and death) would do well to catch it. What director Adrian Lyne has done with the film is effectively weave a tale so taut and intriguing you don't mind the deliberately slow pace, and every little thing that is said, every little flashback takes on new meaning as the end ultimately reveals itself. The viewer becomes enthralled with Jacob's descent into seeming insanity, his paranoia, loves, hurt and finally redemption. Jacob's Ladder deals with our human tendency to hang on, even when letting go is the best option. There is a lesson embedded in the movie, but it never gets too heavy handed in the delivery. Louis (Danny Aiello in a noteworthy performance), Jacob's chiropractor says, "if we cling to life, then we see demons tearing it away from us, but if we let go...we see angels," and perhaps that, in essence is what this movie tries to say.

As compelling as the story is, credit has to be given to the director for making very wise casting decisions. Tim Robbins is perfect as the disoriented, paranoiac Jacob, while Elizabeth Pena's turn as the sensual Jezebel provides the sexual foil to his character. Of course, much credit has to be given to Danny Aiello for his portayal of Louis, the cherubic almost-father figure. The characters work well in the context of the film, lending it a believability even when the faceless demons make their entrance and begin to systematically destroy Jacob's world. A mention has to be made of the appearance of Macaulay Culkin in a pre-Home Alone role, before things started going downhill for him. As Jacob's dead son Gabe, it is the chemistry apparent between the two that above all else, makes the audience feel and more importantly, empathise with Jacob's pain. Even Ving Rhames and Eriq La Salle drop by as supporting characters, making this a historically interesting film to watch as well.

At the end of the day, Jacob's Ladder isn't perfect, by any means. There is a self-involvement in the film that borders on the autistic, as if nothing else matters but what Jacob is going through. While this may tick off some viewers it is ultimately necessary, and the slow pacing may turn off people used to MTV quick cuts. Perhaps one of the biggest flaws of the movie is the sudden expository conversation at the end, which kind of spoils the whole buildup, but still doesn't detract from the impact of the final five minutes. Jacob's Ladder is a gem in its own right, a precursor to the whole twist-at-the-end genre of films that suddenly became so popular. Its contribution to films like Sixth Sense and others of its ilk is undeniable, and if you're ever a fan of Night Shyamalan, you'd do well to seek this little film out, and add it to your collection.

Ash.ox gives Jacob's Ladder a 4 out of 5.