Sling Blade

From the opening moments of this film we are suddenly cast into a world unfamiliar to our own; that of Karl Childers, a seemingly harmless retarded man sitting before a window in the State Hospital as a cruel patient jabbers away beside him. We learn that Karl is being released today and two young ladies are here to report on his release for their school newspaper.

"Some people call it a Sling Blade, but I call it a Kayser Blade."

Karl, unaccustomed to speaking with people from the outside world, sets some conditions by which he’ll talk to only one of them, and we are introduced to the story of why he is here in the mental hospital. Here, in the dark, he can tell all and in one long tense monologue we come to understand that Karl had a decidedly rough childhood and when 12 he killed his own mother and her lover with a sling blade.

Upon release he meets Frank Wheatley, a small and talkative boy with whom he starts a tentative friendship. He is soon introduced to Frank’s family and takes a job repairing small engines with a friendly mechanic. As Karl’s confidence in the outside world grows, he still meets with enmity from people around him, particularly if they learn he’s been in hospital for 20 years. Finally, Karl moves into Frank’s place where he builds a semblance of family with Frank’s mother Linda and her gay best friend, Vaughan. However, they also live with a dangerous and violent man in Doyle, who immediately takes a dislike to Karl and matters soon spiral out of control.

Billy Bob Thornton is spectacular in this film, with a rivetting performance as the 30-something slow-witted Karl. His monologues in character are extraordinary and the sweet friendship between he and Frank is one part of this film’s appeal. Between the two they are unusual and outcasts, and their connection is the fabric of the whole storyline. Lucas Black II is also superb in the role of Frank, bringing a genuine childlike spirit to the film that is not unlike Karl himself.

What seems an ordinary film with an ordinary story is anything but. As the story progresses the tension is slowly building to the inevitable outcome, plus the story itself has plenty of hidden meanings and metaphors that keep delivering well after the film has finished. This is a superlative film with magnificent performances from the entire cast, and whilst not always pleasant to witness, it is certainly compelling.

Released in 1996, this film did its natural tour of cinemas around the world to critical acclaim. Herein the film still looks pretty good, although there are increasing amounts of film artefacts as the movie progresses. Most of these aren’t too obvious, though some (like the doozy on Frank’s ear at 53:17) are quite apparent.

The first part of this film looks like it’s in some type of green filter, though I don’t think it was supposed to be. During Karl’s interview in the dark early in the film, the blacks of the shot are mid to dark green rather than true black. This is all the more apparent because the film is delivered in 1.85:1 without enhancement so the bars are visible in non-widescreen tellies. However, everything else in the vision looks great. The cinematography is very nice, capturing the smalltown atmosphere perfectly. Flesh tones too, are fine, as are colour levels.

Without the need for much but dialogue and music, this film treats both very nicely. All dialogue is clear and well spoken, which is handy given Karl’s strange speaking voice. The sound effects are great, although they don’t make themselves apparent all that much. There are some incidents of aluminium cans being thrown that sound great, as do some convincingly wet thwacks later in the piece.

The music is also amazing. Lilting and whimsical, it has been scored to suit the scenery perfectly and helps contribute to the smalltown feeling very well. There aren’t any staticky bits or noise throughout and allover the sound works entirely adequately.

We don’t get a great deal of extras, but the film itself can strongly stand alone without them. The first is a photo gallery which is a little lame, considering it only has nine pictures in it. These are from on set with some stills included.

The second of the Sling Blade driven extras are the cast filmographies which are just that. No biographies, just selected filmographies. These number eight and include Robert Duvall, although he’s in the film for all of three minutes at most. Oh well, they’re current to 2004.

Finally, the two trailer bits. The first is More From Palace Films and has trailers for Alexandra’s Project, The Rage In Placid Lake, Australian Rules and Judas Kiss.

The second is entitled More From The World Cinema Collection and houses four more trailers for Read My Lips, The Best Man’s Wedding, Respiro and Eat, Drink, Man, Woman. So, not a big batch, but like I said, the film can stand alone.

The breakthrough piece for Billy Bob Thornton that proved to all and sundry that not only could he act, he could direct and write for the screen as well. A truly remarkable film with powerful performances and a storyline that certainly isn’t new, but has been told uniquely. A feeling of dreamy summer afternoons carries the mostly pleasant parts of this film and creates some beautiful and genuinely touching scenes between Frank and Karl.

There are also occasional moments of laughter that help break the silently building tension, and it’s only after around halfway we realise that the film is deliberately aiming us at some moment that’s coming. We aren’t sure what form that moment will take, but we are helplessly pulled along with it. All up, this is a well made and well told film that will hold immense re-watch value for years to come.