Now and then you come across a made-for-TV film that you just know will win awards–though it’s not exactly entertaining.
Case in point: Showtime’s latest original film, Wild Iris (debuting 8 p.m. EST Sunday, Aug. 5). The film stars Oscar nominee Laura Linney as Iris, a bitter, promiscuous, alcoholic mother of a 15-year-old son, enduring life after her husband’s suicide. Gena Rowlands–another Oscar nom–stars as Min, Iris’ mother, who owns the home/bridal business in which both live and work (or attempt to, at least).
The story unfolds mostly through black-and-white flashbacks, slowly revealing the tragic past that Iris is desperately trying to forget. Though she consumes more Smirnoff than Peter O’Toole on his best day, she nonetheless cannot escape the haunting thoughts of yesteryear, including one incident in which she allowed dear mommy to watch her having sex. However, you soon realize this film is not Iris’ story–it’s her son’s.
Alienated by his peers, the son, Lonnie (Emile Hirsch), is the real victim here. Living in the same home as Iris and Min–who skewer each other with negative comments at every turn–isn’t easy, yet Lonnie remains positive throughout much of film, until the building mental anguish turns him tragically against himself.
Like father, like son.
Some ancillary figures pop up throughout the film, most notably Fred Ward‘s tough-as-nails character–the father of a soon-to-be-wed young woman. His subplot is quite intriguing, offering up a bit of fairy tale wedded bliss to balance out the ongoing psychological torture that Iris and Min put each other through. Some balance is needed–you need some time to rest after Linney shoots one of her vinegar expressions at you.
To criticize Iris‘ lack of plot would be unfair: this is a volatile portrayal of human weakness, pure and simple. But the major flaw here is that you simply don’t care enough about these people to want them to prosper, both emotionally and financially. And they do not.
