The Idea of an Essay, Volume 3

86 The Idea of an Essay: Volume 3 match the stark and dynamic emotions of Lelia and Father Jacob. Douglas recognizes the intentionality behind how the characters are seen aesthetically, while Catsoulis only sees the camera angles and set as well done. Douglas and Catsoulis also both commend the actors’ skill, but Douglas describes the artfulness of acting beyond mere entertainment. Catsoulis praises, “[T]he acting is flawless, the tone gentle and observational.” She appreciates that Leila’s transformation is unforced and without a sermon. To Douglas, Leila’s subdued obstinacy and Father Jacob’s soft, brimming love go beyond acting for mere entertainment. The acting becomes art by its own merit. Douglas describes Father Jacob’s plight as “a dance between joy and sorrow, and he walks that tightrope without ever falling completely to one side, or into some sort of generic bittersweet caricature.” Douglas sees how well Heikki Nousiainen, who plays Father Jacob, avoids becoming an unbelievable or sentimental character by never completely surrendering to grief or love. Douglas says the same of Leila: “Hazard’s stony performance as Leila follows a similar pattern; her grim, silent close-ups betray little emotion, but still express a sense of her inner anguish. When her barriers begin to fall, the sparseness of her earlier scenes pays off in a big way.” Douglas recognizes the intentionality behind Leila’s acting as it leads to the climax— her early reservedness makes her later openness more dramatic. To Douglas, good story and good acting cannot be separated. The actor’s storytelling will either ruin a plot or give it life. Catsoulis and Douglas strongly disagree, however, on whether the plot is cliched or worthy of investigation psychologically and philosophically. Catsoulis denounces the plot as cliched, while Douglas investigates Leila’s redemption on an intellectual level. Catsoulis labels Letters to Father Jacob as a “redemption-driven drama” and says the narrative induces sleep. While this film is redemption-driven, most stories seek redemption. Catsoulis is unclear what she means by calling the movie a “redemption-driven drama.” She again vaguely castigates Letters to Father Jacob as “pretty predictable” without additional comment. Her labels do little to enlighten the reader nor do they explore the movie as a work of art. Douglas vivisects the plot more deeply and appreciates the movie’s