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DOWN IN THE VALLEY
Directed & Written by: David Jacobson.
Produced by: Holly Wiersma, Edward Norton & Adam Rosenfelt.
Director of Photography: Enrique Chediak.
Edited by: Lynzee Klingman.
Released by: THNKFilm.
Country of Origin: USA. 114 min. Rated: R.
With: Edward Norton, Evan Rachel Wood, David Morse & Rory Culkin.

Is it possible that a contemporary Western can revive what has been a disappointing year in independent film? David Jacobson’s thoughtful, unpredictable and troubling Down in the Valley is a film of substance and mystery, which has been absent in recent independent fare.

Harlan Carruthers, presumably a ranch hand from South Dakota, lives by the stereotypical “cowboy code” in suburban Los Angeles. Edward Norton is excellent as the charismatic loner, who captures the eye and the heart of Tobe (Evan Rachel Wood), a typically rebellious teenager living with her emotionally remote father (David Morse) and introverted adolescent brother, Lonnie (Rory Culkin.) Harlan’s ethics appear to be those that John Wayne would live by, and Tobe is drawn to his gentlemanly charm and anachronistic spirit. Lonnie is especially taken by the attention given by Harlan, in contrast to the absence of interest he and his sister receive from their father. Steadily, Tobe believes she has fallen in love, and Lonnie thinks he has found someone who can offer him guidance.

Their father, of course, suspects Harlan of having ulterior motives, and as his suspicions are aroused and his anger increases, Harlan seizes an opening to solidify his relationship with Tobe and her impressionable brother. It is at this point that the movie begins to take unexpected twists and turns, which are ultimately – thankfully – never fully resolved. Is Harlan a sincere and decent soul living in an era which neither respects nor honors such qualities? Or is he a psychopath fraying the fabric of a family whose fragile relationships can be easily destroyed?

As the action in the story unfolds, we learn the truth, but, as in life, a tidy resolution rarely presents itself. The closing scene is an apt metaphor for all that precedes it, and the film lingers long after it has ended. The extraordinary cast, the solid direction, and widescreen cinematography make Valley well worth seeing. Michael Morley, President of CineBLAST! Productions (Revolution #9, Bobby G. Can't Swim & Spring Forward)
May 5, 2006