Ten Stories Tall (David Garrett, 2010): USA

Reviewed by Skylar Harrison. Viewed at the Santa Barbara International Film Festival, Metro 4 Theatre.

Ten Stories Tall is directed and written by David Garrett, and premiered at the Santa Barbara International Film Festival Sunday, February 7, 2010. The film, with its many relatable struggling adult characters and simple yet heartfelt plot, centers around the concept of death and coping and leaves its audience ready to walk out of the theatre ready to live. Jennifer Regan and Tovah Feldshuh give exceptionally candid performances with their complex mother daughter relationship, which carries the film and sparks thoughts of one’s own relationship with their mother or daughter.

Ten Stories Tall follows two close-knit families as they deal with multiple deaths with New York City as its backdrop. The film begins with Grace, the mother, and Josephine, the daughter, getting ready for the funeral of Grace’s best friend (the mother of the other family). It is insanely clear that Josephine is the true mother in the relationship. In fact, Josephine, a recovered thirty-eight year old alcoholic, still lives with her mother in her posh New York apartment. Through the funeral how interwoven and dysfunctional close these two families are is revealed, and through realistic and simple dialogue, there is a character every audience member can relate to whether it is the overbearing mother turned loon from grief or the overweight sister who has lost the approval of her mother. Family relationships, which lay at the core of the film, are both threatened and strengthened by death and grief.

Two more sicknesses and deaths follow the funeral, and the next death is connected to one of the most poignant sex scenes one will see. Life and death are intertwined as Susan and Charlie (a terminally ill artist) first forego contraception and Susan, at the peak of the scene, stares at the tattoo on Charlie’s chest that reads, “Do Not Resuscitate.” In this scene, the similarities of life and death are highlighted, driving home the theme of the film.

The effects of these deaths are where the lessons in this film lay. The characters that remain attempt to find peace, love, and acceptance with those who are still alive and surround them while fighting against grief and confusion takes all the characters to an ultimate low. At the film’s end the most profound change is between Josephine and her mother. In a pivotal breakthrough scene, Grace asks her daughter if she has ever had the infinite feeling of having the world at her feet. Josephine replies with a certain “no,” and Grace finally lets go of her daughter. Josephine moves out and Grace steps back.

The film was flawlessly cast, which was crucial to the film’s success as it blatantly focuses on the actors and acting. The cinematography is simple and understated and devoid of fast cuts. Garret, in a Q&A after the premier stated, “I didn’t want people to notice the camera.” What was noticed was the acting, especially with many moments solely focusing on the faces of the characters. Garret did not neglect the expressiveness of the back of characters either, lingering over their necks and backs, which proved just as expressive as their visages. The film with its simple storyline yet profound effect was similar to that of Paris, Je T’aime. However, Ten Stories Tall is more concentrated and straightforward with the connections and dynamics between its characters.

This film should be seen by anyone who has ever felt the emptiness of loss. One will reflect over their own life and loss yet be swept away by the many characters’ as well. This film evokes mature insight into the common adult at the edge of a second coming of age, which is a compelling reason to go to the theatre.