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Waking the Dead: Fielding Pierce
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In ``Waking the Dead,'' the audience is made to feel that vitality and to feel the intensity of the connection between Fielding and Sarah. That's rare in movies, and overwhelming when done well. Sarah is Fielding's youth, but she is hardly presented as an abstraction. A political radical, she is just an idealistic kid with endearing imperfections and idiosyncrasies that make her irreplaceable.
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Co-produced, directed, and adapted (without credit) by Keith Gordon, Waking the Dead is all about the scrambling of fantasy and fact, the ways that individual perspective shapes truth. This scrambling is reflected in the film’s structure (which in turn reflects Scott Spencer’s source); it’s fractured and a bit eccentric, shot mostly from Fielding’s point of view but ... revealing, at times, how characters around him react to his emotional displays. As a means to introduce such intense and sometimes difficult subjectivity, the film’s opening feels both unusual and right, as the mundane, impersonal experience of watching TV turns into something specific and horrific, too intimate, harrowing and sentimental at the same time.
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Gordon maintains a nicely ambiguous tone throughout Waking the Dead, which offers no easy solutions to difficult questions. Hal Holbrook, who excels at these types of roles, puts in a stellar supporting performance as Fielding's mentor.
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Fielding Pierce