‘Roman’ Review: A Story of Forgiveness
‘Roman’ Review: A Story of Forgiveness
Set against a bleak and temperamental backdrop, Roman depicts a vivid realization of the character’s internal torment. Joshua Mallory’s cinematography enhances the intensity of the film’s more ghastly sequences, inducing a sense of dread and confusi
★★★
Drama (70 minutes)
dir. Dwight Wilkins
Starring: Brian Anthony Wilson, Darold Lingo, Anthony Wilcox, Charles W Harris III, Wendi Smith
“One man. Two women. And a dark past that keeps chasing after him. Roman, 30s, is caught between the two women in his life and the father he resents. The movie takes us on a journey of a man trying to come to term with his situation while being chased by the demons of his past. Will he be able to conquer the demons that are out to destroy him? Or will be end up becoming like the father whom he hates? The movie takes us into Roman's mind as he navigates his present circumstances and avoid repeating the mistakes of his father.”
— Official Synopsis
Roman is based on the short story, “Son of a Covet,” co-authored by [the late] George Ward Beacham III and Cyndie Beacham. In the story, the main character grapples with relationship mishaps that force him to re-examine some critical choices made in his complicated life.
Similarly, the filmic interpretation follows the eponymous character played, delicately, by Darold Lingo. Roman is troubled—haunted by a dark past, struggling with self-destructive tendencies. Much of the plot centers around the wavering psyche of Roman and how he approaches the challenges of faith, regret, and feeling of repentance. While the character’s life appears in turmoil, the film gradually reveals the traumatic events that shaped him into the person he is; the script split vertically into two compartmentalized sections of his past (and present) life.
Set against a bleak and temperamental backdrop, Roman depicts a vivid realization of the character’s internal torment. Joshua Mallory’s cinematography enhances the intensity of the film’s more ghastly sequences, inducing a sense of dread and confusion. Roman can’t quite comprehend his surroundings—if what he is seeing, and feeling, could even be based in reality. Mallory captures the dual reality with muted colors and a relatively moody atmosphere that creates some striking imagery. However, not all of the compositions are visually cohesive and it’s mainly due to the scene structure and occasional blocking.
Some of the stiffness embedded in script causes additional friction for the visual language. Nonetheless, the material evokes an emotional vulnerability: finely underlining the affect generational trauma has on mental health. Its complexity highlighting the dichotomic relationship of love amidst a painful history. Roman’s flawed nature ensures the audience is kept at a distance while maintaining a thread of empathy towards him. Lingo’s performance can be attributed to the success of this balance, traversing a delicate tight rope. Roman’s supporting cast aids in keeping the written word grounded in realism.
While some may find the pace of the film to be challenging, it builds upon being a contemplative and immersive journey into the life, and mind, of one individual. Albeit, Roman seeks to clarify some of the more intangible twists of the story that are better left for viewer dissection and introspection. The ending is woefully misplaced, pivoting to a weaker subplot which dampens the main focus of its original storytelling avenue; opting for an external act of redemption in lieu of pursuing the subtlety of performance acting. Ultimately, this muddles the intensity of the technical imagination which Roman previously championed.
While there are certainly a few complications that prevent Roman from achieving exceptional heights, the thematic essence of forgiveness and acceptance of life’s cruelty remains forever relevant. We must learn to live in the present— recognizing the importance of the past—to heal old wounds. Whether we choose to begin the journey of healing through faith or spirituality, the choice is our own in attaining a brighter future. Cultivating haunting imagery, remarkable performances, and sparking questions about our own individuality, Roman’s moral relevance cannot be understated. Coming in around 70 minutes, we are reminded of life’s greatest fact: we hold the key to our own salvation.