Why do mainstream audiences prefer A to B plots? Is it because they do not want to have to think while they are watching a movie? Is it because they are so used to them that they have just become expected? Or is it because they are more concerned with the plot than with the characters? I believe it to be a combination of all of these reasons that leads Hollywood to cram A to B plots down on throats in almost every single movie.
In recent years especially, there have been a few strong exceptions to the rule. Robert Altman's "Short Cuts" was one of the first well received examples of a film with multiple storylines and interlocking characters. "Pulp Fiction" and the recent "Go" even redefined this particular genre by bringing a certain coolness and fast-paced action to multiple story vehicles. Just in the past year, "Magnolia," "Beautiful People," and now "Five Senses" have really shown just how intriguing this type of film can be. Their audience is slowly increasing, and hopefully, the recent trend of character-driven, multiple story lined films will continue to expand.
"Five Senses" is the first of all of the aforementioned films to include a definite gimmick that defines each of its stories. Not surprisingly, it is that each story is about one of the five senses, touch, taste, smell, sight, and hearing. Thankfully, the gimmick does not in any way overshadow the characters beneath the plot.
Ruth (Gabriella Rose), a massage therapist, opens the film massaging Anna (Molly Parker). Ruth is out of touch with her teenage daughter, Rachel (Nadia Litz), who no longer attends a public school because she did not fit in. Anna happens to be one of Rachel's former teachers, and having a little trust in her, she asks that Rachel take her pre-school aged daughter to the park.
While they are playing in the park, Rachel spots a young couple who are, for lack of a better term, exploring their sexuality. She makes the terrible mistake of taking her eyes off of the child for a few minutes to spy on this couple. The audience is not at all surprised when she returns to find the child missing. The lost child quickly becomes the central element of the film, providing a slight, but clear, connection between all the stories.
During her brief escapade in the park, Rachel meets Rupert (Brendan Fletcher), a boy who, like Rachel, does not fit in to the norm of society. He helps her learn however, that being different is not necessarily a bad thing, for it means that you can be unique. The two of them help each other see life in a whole new manner.
Another story focuses on Robert (Daniel MacIvor), a homosexual house cleaner who is constantly seen cleaning the house of a wealthy perfume designer. Robert has an extraordinarily keen sense of smell, but the one scent that escape him is the one of love, which he knew sometime in his past. While in many ways his is a sad story, a lot of humor is invoked to keep the audience's and Robert's spirits high.
Perhaps the most touching story is that of Richard (Philippe Volter), a lonely man who knows that he is quickly going deaf. He hires a prostitute to spend time with him while he attempts to experience a list of things that he wants to hear while he still can.
One of the more humorous stories involves Rona (Mary-Louise Parker), a cake baker, and a chef with whom she fell in love while in Italy. They have very different tastes in food, and their language barrier almost completely prevents them from communicating with each other. Nonetheless, their quirky relationship somehow keeps them happier than the majority of the characters in the film.
Each of the stories that Canadian director Jeremy Podeswa weaves together keep our interest fairly equally. This is a very important aspect of a film with multiple story lines because we are rarely ever waiting for one particular story to come back into focus since our attention is held by each one.
While the acting is undeniably strong, the characters all interesting, and the direction top-notch, there are a few disappointing aspects of the film. The stories do not connect together nearly as well as they do in "Magnolia" and "Short Cuts," and the ending seems fairly abrupt and unsatisfactory. Do not get me wrong, this is a very well made and enjoyable film, but it does not deserve quite as high praise as its comparable predecessors do.
I highly recommend "Five Senses" to anyone interested in films that do not follow simple, linear plots. If you, like me, enjoy more involving films that rely on well defined characters in lieu of heavy plots and special effects, "Five Senses" is a must see.
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