The
Sunset Limited is directed by Tommy Lee Jones and stars Jones, Samuel L.
Jackson, and four walls, which is fitting since it is a two-character play. Because it was written and adapted by none
other than by Cormac (No Country for Old Men) McCarthy, every word is carefully
measured and carries great weight. Not
only is it one of the best McCarthy adaptations, it is a powerhouse showcase
for both actors.
Jones
and Jackson sit alone in a sparse apartment.
Jones is White and Jackson is Black.
Through their dialogue, we learn Black saved White from jumping in front
of the titular train. Despite his
protests, Black engages him in conversation, hoping that the longer White
stays, the less likely he is to try to attempt suicide again. White obliges the total stranger out of mere courtesy,
but it is painfully obvious he can’t stay in that room forever.
Jones
and Jackson are like fire and gasoline together. They elevate what could’ve been in lesser
hands an ordinary talk fest and make it into something more. Jackson attacks the role with his usual
bravado. There’s a jailhouse reminiscence
that is just pure Jackson. You have to wonder
why it took so long for him and McCarthy to team up. Jones is equally captivating. He dials his usual mannerisms down to a
whisper. World-weary, frail, and haunted,
this is one of Jones’ best performances.
As
a director, Jones does what he can to make it feel less stage-bound, moving the
characters around and getting in a couple of unique camera angles along the
way. The plot spins its wheels a bit too
much during the second act. However, Jones’
final admission is one of the bleakest, dourest, most depressing things ever
put on celluloid. It is a thing of rare beauty
to see someone poignantly illustrating the reason they NEED to commit
suicide. Jones puts it in such a way
that it leaves Jackson and the audience speechless. If someone who wants something so bad, who
are you to argue with them, especially when they verbalize it so eloquently (even
if it is suicide)?
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