![]() Jessie is equally opaque - spunky, lively, intelligent in every scene except, again, the one is which she's sodomised. The point of art is surely that, to coin a phrase, it reaches the parts life cannot reach. Talk about Jekyll and Hyde! And I'm afraid it won't do to argue, as Roth has done to interviewers, that most paedophiles in life impress their neighbours as outwardly average human beings, normal in everything save their sexuality. Then, without the slightest hint of his latent pathology, he's suddenly revealed to us as a monster, an incestuous pervert. Were it not for his accent, he could be transplanted intact into an Australian soap. In every single scene except that in which he sodomises his daughter, Winstone plays his character as a bluff, harassed, self-made man, a bit rough round the edges, maybe, but loyally attentive to his wife (a barely recognisable Tilda Swinton) and a decent, not unkindly parent to his offspring. In the film's most graphically explicit scene, the naked, bawling Jessie is penetrated from behind by her father while the camera looks on dispassionately. Not because of the dramatisation of incest itself - it's a subject like any other - but because Roth, having opted for a mimetically naturalistic approach, has had to simulate that incest. I haven't read the novel by Alexander Stuart on which Tim Roth's The War Zone is based, but it's a deeply unsatisfactory and, for me, rather unpalatable film. Some days later he spies on them again, and this time so does the camera. ![]() Since we in the audience aren't privy to the sight, our view of Tom's character is clouded for a time by uncertainty as to whether he's actually telling the truth. One day, while mooching around, he chances to see his older sister Jessie (Lara Belmont) sharing a bathtub with their father (Ray Winstone). Tom (Freddie Cunliffe), a sullen, friendless teenager, has been uprooted with his family to a dank and underpopulated backwater in Devon.
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