Keane

( 1 )

Overview

American independent filmmaker Lodge Kerrigan returned after a six-year hiatus with this formally challenging tale of a disheveled man desperately searching New York City for his young daughter. Keane takes its name from its central character, a middle-aged man (Damien Lewis) who wanders Port Authority with a seemingly tenuous grasp of his sanity, muttering to himself and causing altercations with passers-by. He claims to have lost his daughter at a bus station, and consistently pleads for assistance from ...
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Overview

American independent filmmaker Lodge Kerrigan returned after a six-year hiatus with this formally challenging tale of a disheveled man desperately searching New York City for his young daughter. Keane takes its name from its central character, a middle-aged man (Damien Lewis) who wanders Port Authority with a seemingly tenuous grasp of his sanity, muttering to himself and causing altercations with passers-by. He claims to have lost his daughter at a bus station, and consistently pleads for assistance from indifferent authority figures. When he's not roaming the streets, he uses his meager savings to rent out a room nightly in a cheap hotel; there, he meets Lynn (Amy Ryan), a single mother with a daughter, Kyra (Abigail Breslin), almost the same age as Keane's missing child. As he grows closer to Lynn and Kyra, he starts to see the young girl as instrumental in deciphering his own loss. Keane premiered at the 2004 Toronto Film Festival before securing a 2005 theatrical release.
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Special Features

Closed Caption; Steven Soderbergh alternate cut
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Editorial Reviews

All Movie Guide
The crippling mental effects of losing a daughter to a kidnapper are explored in Keane, an intense character study brought into disquieting focus by actor Damien Lewis. There are hundreds of ways to make this subject matter play like a goopy TV movie, but writer-director Lodge Kerrigan resists them by never giving the audience any information beyond the immediate perspective of the main character. And because the underappreciated Lewis exudes such instability, his perspective is totally unreliable. He could either be a grieving father or a damaged psychopath, and neither Lewis nor Kerrigan is going to let the audience off the hook as to which one. Yet Lewis is also clever enough in his portrayal to make viewers like him and root for him in spite of their reservations, gaining their sympathy by doing his best with what he's got, regardless of what came before. Lewis brings us into a world of eternal now, where every moment is broken down into "can I find my daughter or can't I," and the daily human needs get accomplished or fail to get accomplished haphazardly and absently. The whole film has that same scruffy feel that Lewis brings to it, in keeping with Kerrigan's indie background and that of his producer, Steven Soderbergh. Amy Ryan briefly and Abigail Breslin more crucially lend excellent support to Lewis' central madness. Kerrigan's only possible mistake is that he relies a little too much on Keane talking to himself, which -- even though his dialogue is not particularly expository -- feels at times like a screenwriting shortcut, a brief reliance on telling instead of showing. But the major impression left by Keane is how powerlessness transforms a person, to the point that they're unrecognizable even to themselves.
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Product Details

  • Release Date: 3/21/2006
  • UPC: 876964000079
  • Original Release: 2004
  • Rating:

  • Source: Magnolia
  • Region Code: 1
  • Time: 1:34:00
  • Format: DVD
  • Sales rank: 51,201

Cast & Crew

Performance Credits
Damian Lewis William Keane
Abigail Breslin Kira Bedik
Amy Ryan Lynn Bedik
Tina Holmes Michelle
Christopher Evan Welch Motel Clerk
Liza Colon-Zayas First Ticket Agent
John Tormey Second Ticket Agent
Brenda Thomas Denmark Commuter
Ed Wheeler First Bus Driver, Ticket Taker
Yvette Mercedes Woman in Department Store
Christopher Bauer Bartender
Christian Bauer Bartender
Lev Gorn Drug Dealer
Frank Wood Assaulted Commuter
Alexander Robert Scott Cab Driver
Phil McGlaston Cab Driver
Ted Sod Gas Station Attendant
Stephen Henderson Garage Employee
Omar Rodriguez Garage Manager
Sean Modica Ice Rink Employee
Sharon Wilkins Third Ticket Agent
Millini Kantayya Newsstand Cashier
Ray Fitzgerald Second Bus Driver, Ticket Taker
Technical Credits
Lodge Kerrigan Director, Screenwriter
Petra Barchi Production Designer
Brian Bell Co-producer
Andrew Fierberg Producer
John Foster Cinematographer
Catherine George Costumes/Costume Designer
Andrew Hafitz Editor
Urs Hirschbiegel Asst. Director
Heidi Levitt Casting
Jenny Schweitzer Co-producer
Steven Soderbergh Executive Producer, Producer
Bernie Telsey Casting
David Vaccari Casting
Peter Yesair Art Director
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Scene Index

Disc #1 -- Keane
1. Searching [8:41]
2. Locked Out [5:21]
3. Turn Up the Music [7:39]
4. 4:26 [9:05]
5. Charity [7:34]
6. Dinner [11:41]
7. Closer [5:24]
8. A Favor [13:10]
9. Skating [4:08]
10. Leaving for Albany [5:08]
11. William Keane [11:24]
12. End Credits [4:31]
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Menu

Disc #1 -- Keane
   Play Film
   Set Up
      Spanish Subtitles: On
      Spanish Subtitles: Off
   Scene Selection
   Bonus Materials
      Steven Soderbergh Alternate Cut
      Also From Magnolia Home Entertainment
         Play All
         Bubble
         Enron: The Smartest Guys in the Room
         Klepto
         A League of Ordinary Gentlemen
         Pulse
         The Seat Filler
         The War Within
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A Film That Finds The Gaping Hole In Which Unbalanced People Live

    Lodge H. Kerrigan is a force in film who demands our attention. The fact that Steven Soderbergh produced this small, low budget work should indicate the quality of endorsement a fine filmmaker has in a relatively unknown writer and director.Essentially a one-man drama, the 'story' is more an autopsy on the mind of a disturbed 36-year-old man William Keane (Damian Lewis) who lives in the streets and underground of New York, whispering to himself the data of a child snatching incident 'last September': we slowly get the idea that Keane's 7 year old daughter Sophie disappeared at station 8 at 4:30 PM. Keane lives his life searching for his daughter, watching, 'being watched', and in general appearing like a mentally challenged man on desperate treadmill. Keane lives in a rent by night hotel and at one point overhears a young woman Lynn (Amy Ryan) arguing with the deskman about her rent: she is accompanied by a seven year old child Kira (Abigail Breslin) and Keane follows them to their room and genuinely offers Lynn $200. 'to help them out'. Wary at first, Lynn accepts the money, eventually invites Keane to her apartment for shared take-out supper, and Keane warmly relates to both Lynn and Kira. At one point Lynn asks Keane to watch Kira for an afternoon and Keane and Kira enjoy each other's company in what results in an extended time due to Lynn's unexpected absence (she has been visiting her estranged husband arranging for them to reunite). Lynn finally returns and thanks Keane for his kindness and informs him that the two are departing the next day to re-join her husband. Keane asks for one last goodbye to Kira, a child he has grown love and who is the one who brings him as close to sanity as any person has been able. It is the manner in which Keane and Kira spend that last goodbye that forms the suspenseful ending to the film.Some reviewers feel that not much happens in this story and I suppose that linearly speaking, not much does. But the spectrum of intensely difficult psychological journey with which we accompany Keane is extraordinary. Damian Lewis carries this film with a breathlessly credible performance of a man lost in the no man's land of mental deterioration, drugs, and alcohol. Thankfully Kerrigan never force-feeds us Keane's background except for a brief moment in which Keane recounts the dates of his birth and sadly unremarkable events of his life. The rest is left to the viewer to mold from the pitiful fragments Keane dispenses through his actions and reactions. The supporting cast is strong and the technical aspects of the film are well captured. This film may be too tough for most viewers who expect more information in a story, but for those brave enough to enter the mind of a mentally disturbed man and view the world through his perceptions and fears and needs, so brilliantly enacted by Damian Lewis, this film will stay in memory. Grady Harp

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