Unveiling the Intricate Web of 'Orphans': A Review of a Peculiar Power Play
In the realm of cinema, the concept of a menacing intruder disrupting a family's tranquility is a familiar narrative thread. Lyle Kessler's 'Orphans' introduces a twist that challenges conventional expectations. The film centers around a peculiar trio: two brothers, Phillip (Fred Woodley Evans) and Treat (Chris Walley), and an enigmatic figure named Harold (Forbes Masson).
The brothers, confined to their modest living room, are the epitome of contrasting personalities. Phillip, the younger and more vulnerable sibling, appears housebound, while Treat, the elder, exudes a commanding presence and a history of petty theft. The turning point arrives when Treat, driven by a desire for control, orchestrates the kidnapping of Harold, a man carrying valuable bonds in his briefcase. This act sets the stage for a complex dynamic where Harold, far from being a victim, becomes the brothers' authoritarian father figure, exerting his influence over them.
The film delves into the psychological aspects of orphaning, with Harold's childhood trauma mirroring the brothers' parentless existence. He refers to the 'dead end kids' at his orphanage, creating a parallel between his own past and the brothers' present. Through different means, Harold mentors the brothers, encouraging Phillip to venture beyond his front door and shaping Treat into a potential gangland criminal. This dynamic shift, fueled by Harold's presence, ignites a volatile power struggle within the brothers, with Harold's potential for violence adding a layer of tension.
Al Miller's direction excels in building claustrophobia and tension, but the narrative stumbles when it ventures into symbolic or surreal territory. The relationship between the brothers and Harold remains underdeveloped, leaving audiences yearning for a deeper exploration of their complex dynamics. The play also introduces moments of unexplained bigotry, which, while intriguing, fail to provide clarity. This ambiguity raises questions about the brothers' suspicion of the outside world, particularly in the context of 1980s blue-collar Philadelphia.
Despite these shortcomings, the performances of the three actors are a standout feature. They effortlessly convey the power play, vulnerability, and pent-up anger and ambition of their characters, making the outlandish scenario feel eerily real. 'Orphans' is a peculiar gem, leaving audiences captivated by its intricate web of relationships and the emotional journey it unfolds.
