Review: American Woman

Last Updated on July 30, 2021

PLOT: A thirty-two-year-old woman (Sienna Miller) is left to raise her infant grandson when her teenage daughter vanishes.

REVIEW: Sienna Miller as a grandmother? While the notion may raise some eyebrows, the math done in Jake Scott’s AMERICAN WOMAN checks out. If her character did indeed have a baby at fifteen, and then her own daughter (played here by Sky Ferreira) did the same, it would be possible. That’s the premise of this intriguing character study, which feels, in some ways, what Richard Linklater's BOYHOOD might have been like had the focus been strictly on the mother throughout.

It’s definitely an absorbing drama, which is getting a surprisingly low-key release given Miller’s awards-caliber performance in the lead. Her Debra is a well-layered character, who consistently hangs on to the audience’s sympathy even if she does some selfish, cruel things at times. Initially, she’s shown to be something of a party girl, working menial jobs and having a relationship with her daughter that has them come off more like best friends than anything else, while her older sister (a terrific Christina Hendricks) is the consistent voice of reason.

Everything changes once her daughter, Bridget, vanishes – seemingly the victim of an abduction or worse. The years go by and we watch Debra evolve from carelessly pinning the blame of Bridget’s absentee ex (with the two having a well-written reunion later that never lets either of them off the hook) and throwing tantrums, to embracing something like acceptance. We get a sense of Debra moving on but never forgetting as she raises her quiet grandson while hooking up with a variety of men, some good (Aaron Paul as a charming rascal), some bad (Pat Healy), with the major constants being her mom (Amy Madigan), her sister, and her good-guy brother-in-law, Terry.

He’s played by an atypically serious Will Sasso, who’s excellent as the supportive, put-upon in-law who has to contend with the unpredictable Debra but still maintains a degree of sympathy and affection for her without allowing himself to become a doormat. It’s a strong supporting role for him, and if enough people catch it I could see Sasso making serious headway in drama.

Through it all though, the movie belongs to Miller and Hendricks and the yin-and-yang sisters. Miller’s Debra is the wild one, while Hendricks is shown to have assumed an almost mother-like role over the years, even while raising her own family (literally) across the street. It’s a tribute to how layered the film is that she never comes off as domineering or one note. While something of a busy-body, she has plenty of scenes that allude to her own struggles, and her chemistry will Miller is excellent.

As for Miller, this is a top-notch showcase for her, perhaps being one of the best (if not the best) roles she’s ever had. It’s not an easy part, because she has to walk a fine line between being wildly irrational while also maintaining our sympathy. Through it all, we never doubt that whatever her flaws, Debra is essentially a good person and a great mom, making this a simple, effective character that’s well-directed by Scott. The oldest son of Ridley Scott (who produced), it’s his third film and his most accomplished work to date. While very-small scare for a summer release (it was overshadowed at it’s TIFF debut in the fall, where it played under the title THE BURNING WOMAN) it’s worth seeking out. The performances are really first-rate and the story is utterly compelling throughout.

American Woman

GREAT

8

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