On World On Film this time around, greed and hubris combine to throw acid in the face of love over in the Cayman Islands as its inhabitants are forced to question its reputation as a
(2004) Written & Directed by Frank E. Flowers
“Fucking paradise is about money like everything else!”
(You can see a trailer at the end of the previous post)
Last time, the blog paid a visit to Cape Verde, an uncomplicated former Portuguese dependency once so poor that most of its population left for (literally) greener pastures. Today, things have stabilized, and its people live seemingly uncomplicated lives, the low population ensuring no fights over resources and the still-developing society untroubled by the many problems associated with ‘modern’ life.
Things couldn’t be more difficult on the other side of the Atlantic, it seems. Not, at least, in the Cayman Islands, very much a current British dependency only a couple of hours’ flight from the U.S. It would hardly be an act of cynicism to attribute these factors as the Caymans’ contrastingly more complex character.
Of course, the Cayman Islands are famed not only for being a popular tropical getaway, but as an especially popular tax haven for off-shore banking. Changes to tax laws in places like the U.S and UK have more recently made this particular form of money laundering less profitable, with the local banks falling like dominoes as a result. Nonetheless, the damage to Paradise has been done, the Western world have destroyed the local society by raising it to a level of modernity that benefits only those who colonized it and who now leave the resulting cultural mish-mash to its own, poorer ends. If there is violence and instability in the once-happy Cayman Islands, it is because of the White Man’s Greed, his every act of hubris sending irreversible shockwaves through the delicate framework of the native community.
Or, at least, this is how writer/director Frank E. Flowers sees the Cayman plight. Whether or not his melodrama could, in fact, be transposed to any Caribbean Island is something perhaps better argued by those who know the region better than myself. Nonetheless, this is the story and the setting Haven gives us in its modern retelling of the old saying about money being the root of all evil, with a good amount of Bertrand Russell anti-imperialist discourse thrown in.
It’s not even out of place for once to be reviewing a Hollywood film in this blog. Though done for entirely practical reasons (the Caymans have no film industry), the fact that this is a story told through the lens of one of the Islands’ Western colonizers is entirely in tune with the story’s message.
“Haven gives us in its modern retelling of the old saying about money being the root of all evil, with a good amount of Bertrand Russell anti-imperialist discourse thrown in.”
Told as a nonlinear narrative, Haven is the story of a group of individuals who are both the instigators and victims of a series of chaotic events initially spanning a period of 24 hours, but which ultimately have far-reaching consequences when we then pick up the tale four months later. Dodgy Miami businessman Carl Ridley (Bill Paxton) flees federal investigators to the Caymans where his former accountant, the coldly-titled Mr. Allen (Stephen Dillane), is desperately seeking new sources of income now that all his old clients have dried up. Meanwhile, Ridley’s reluctant daughter Pippa (Agnes Bruckner), upset at the sudden forced relocation, runs into local ne’er-do-well Fritz (Victor Rasuk), who owes money to Richie Rich (Rasaaq Adoti), the self-appointed local crime boss. Unfortunately, Fritz happens to spy Ridley Senior’s stash of banknotes – physical currency being the only way to hide his remaining assets from the authorities – and suggests to Rich that he rob the newcomer to pay his debts. A final major plot strand involves a star-crossed romance between young local fisherman Shy (Orlando Bloom) and wealthy school senior Andrea (Zoe Saldana), whose family is violently opposed to their union. Throughout the film, the different stories weave together into an almost Shakespearean tragedy until its players are forever scarred by their interactions with one another.
I have discussed previously about the challenge involved in pulling off a non-linear narrative well, especially when it involves telling a story from multiple viewpoints and characters. Haven is a good attempt at the craft, but not a great one, leaving viewers to wonder at times who the story is really about. I know I’m not alone here, as the IMDB entry for the film can’t even make up its mind (compare the submitted premise at the top to the plot summary elsewhere). Haven’s tagline suggests the romance to be the major arc (‘Can love survive the fall of paradise?’), which is not surprising, given that it is by far the most compelling. Yet this is clearly not intended to be the case, with so much of the film given to the machinations of Ridley, Allen, and others. Haven is meant as an anthology spearheaded by a single event – the destruction of the island community’s innocence by the selfish actions of unscrupulous Westerners. This however, is more obvious to me in retrospect. At the time, the whole was not greater than the sum of its slightly disjointed parts.
Another reason the romance storyline probably stands out the most is because it is very difficult to care about most of the characters. Ridley has caused his own misery, Allen is largely amoral, and the best excuse the gangsters of the film can offer is “I gotta get a piece, man. By the hook or by the crook.”
Ironically, this line is delivered to the most unsympathetic character of all. In wannabe gangster Hammer, the story underscores another reason why sympathy in the viewer is difficult to come by. As presented, it does not give us sufficient time to develop emotional ties with many of the characters, thus making it difficult to care enough about their plights. Frank E. Flowers attempts to circumvent this for the Romeo & Juliet segments by giving Andrea a brother insecure to the point of violent psychosis, and Shy an antagonist who doesn’t like him, not because of any class discrimination, but simply because he exists. Thus their story benefits from a villain sufficiently ‘evil’ to bring their tale to a dramatic climax, but by a very two-dimensional means.
Hammer, like many of the island natives, make it very difficult for us to feel sorry that Western imperialism has destroyed their original culture. Perhaps the closest the Russell argument comes to being successful is through Fritz, whose ancestry in the Caymans stretches back centuries yet in the halfway house of cultures that the Caymans have become, he is like a directionless pack-rat, grabbing at the material wealth he sees around him without really knowing what to do with it, much less understanding the laws that govern the world which created it. This is a highly-valid discourse one will see re-enacted by the natives of many a colonised environment – the Australian aborigines being one such example. A shame then, that Fritz’s story is simply window-dressing in amongst the many other plot strands jostling for attention.
“Throughout the film, the different stories weave together into an almost Shakespearean tragedy until its players are forever scarred by their interactions with one another.”
Mr. Allen is another good case in point. A greedy, opportunistic money launderer who brought his family to the Caymans to live a life of luxury in paradise, Allen is now a hollow shell of his former self, too consumed by greed to care for a son fighting to establish his sexual identity or his hopelessly neglected wife. This is practically a story in itself, but given only a few snippets of time to tell his story, Allen is little more than a cardboard rogue spouting cynical disillusionment as to the truth of the Cayman dream. Sorry, don’t care.
Lack of depth is ultimately the problem throughout, with Haven trying to pretend it’s there through multiple plot strands that affect a large number of people. There’s a lot going on, in other words, but zoom in on any of it, and you find only cyphers projecting unremarkable plot elements handled better elsewhere.
At the same time, Haven boasts a fine cast who do the best with what they are given. The stand-outs for me are Orlando Bloom as the downtrodden Shy, Zoe Saldana as the damaged Andrea, and Stephen Dillane as Allen. Allen may be two-dimensional, but Dillane excellently portrays his naked greed and world-weariness atop a sea of frustration at the decline of his fortunes. Saldana and Bloom work well together as the initially innocent young lovers who want nothing more nor less than to be together, forced to then grow up rapidly into a damaged adulthood by the interference of others. (There were times when I felt the tagline ought to have been ‘Can love survive the interference of total jerks?’)
Haven is also shot entirely on location – the main reason I chose it – and so benefits from the entirely authentic Cayman scenery. It’s not remotely difficult to understand why the West fell in love with the place, though very tellingly, Flowers keeps the really beautiful scenery to a minimum, so as to emphasize the great distance between the inhabitants and the paradise they supposedly came to enjoy. As director, he keeps the narrative well-paced, with an editing that indicates the rapid turning of events yet doesn’t ever feel like a lot of cynical jump cuts to appease the attention-deficit knuckleheads in the audience. Lighting is used to good effect – night time scenes make frequent use of yellows and reds to keep everything emotionally-charged. And, for the most part, Flowers does a good job of showing ‘resets’ in the drama, ie – when we loop back to an earlier event but from the perspective of another character – something I only failed to catch once.
As writer however, Flowers needed to give Haven another draft to get the balance between the various story strands right to make the overall aims of the narrative clearer, and perhaps even more importantly, add dimension to his cardboard characters. Or at least to put the same amount of effort he put into Shy and Andrea into everyone else. It was clearly a story he very much wanted to tell, but perhaps wearing multiple hats as writer and director muddied the waters come execution time.
Even now, I find myself still making up my mind about the whole thing, but on balance, Haven is not as clever as it thinks it is, nor as deep as it would like to be. Yet it shows there is a compelling story to be told in the modern-day Caymans, and offers a reasonable glimpse of how it might unfold.
A hundred years ago, they were slave labourers to their French overlords and, following the country’s independence in 1960, abused repeatedly by home-grown dictators fighting each other for control of their fate. Today, life is little better for the people of the Central African Republic, and that’s where we’ll be going next time on World On Film.