Review of The Woodsman (2004) by Stevenf — 21 Oct 2013

The approach that is taken towards the overall revelation of 'The Woodsman' is one of subtle and delicate means, we know when the film kicks off that Walter is being released from prison, he settles into an apartment while also taking a job at a lumberyard, it's safe to say that much of the surprise can be taken out of the film especially when every description of the film now outlines the exact extent of Walters crimes. The film doesn't take pedophilia lightly, in fact Kevin Bacon never attempts to seek redemption for the error of his ways, the film instead shows how fitting back into society can prove difficult, especially when he is living across from a school. Bacon is not playing a character who is looking sympathy or remorse for what he is done, he is taking each day as it comes and letting certain individuals treat him like dirt, he takes it on the chin but continues to struggle, he believes there is a man bothering the children in the school, yet due to his past is unsure what to do about it. Two co-workers have two very different opinions of Walter, Mary-Kay (Eve) is immediately suspicious after Walter puts her down, but Vickie (Kyra Sedgwick) seems to admire the mysterious and quiet attitude of Walter, contrary to her outward and feisty personality, she consistently asks Walter what he did, but he often refuses to tell her his past. A past that cannot be accepted isn't necessarily the person at complete fault, but the crime itself. Walter tests his own desires time and time again, he shares a few moments with a young bird watcher in the park, this scene has so much weight and significance that it solidifies the film, this isn't a film to be enjoyed, but more to study and appreciate the adjustment and progression of characters, this scene in the park is awkward and testing, Walter doesn't know what to do and seems to think quickly as he attempts to defuse a situation, his parole officer (Mos Def) is the one who brings Walt back down to reality, he sees the man who went into prison for molesting young children and not much else, his brother-in-law (Benjamin Bratt) tries to see past the crime but always seems edgy and unsure, but willing to give Walter a chance.

This isn't a sympathetic piece nor a cry for help, but it asks the audience to study a situation and vets only draw your own conclusion, yet it never paints its lead as a man who has found redemption, but simply someone who is trying to adjust to a life that has moved on without him.