Best Picture Winner: 1980

Ordinary People (1980)

The Jarrett family – father Calvin (Donald Sutherland), mother Beth (Mary Tyler Moore), and son Conrad (Timothy Hutton) – would at first seem to have the ideal life, living in a beautiful home in an affluent neighborhood, able to take vacations at will. But they have experienced great suffering, as elder son Buck was killed in a boating accident. Even worse, Conrad attempted suicide due to his own guilt over the tragedy. Now Conrad is meeting with a psychiatrist (Judd Hirsch) and struggling to relate to his parents, especially his mother, whose distance has led Conrad to believe she hates him.

This somber look on how the death of a family member affects those left behind served as actor Robert Redford’s directing debut. His no-fuss approach lets the actors take center stage and makes for a compelling character study. Timothy Hutton is the real star here, as he must navigate emotional waters to find a safe port. Conrad’s father is over eager to help while his mother refuses to become touchy-feely. It is his doctor, and later friend, who is able to help Conrad understand his conflicting feelings of anger and guilt. Hutton, who won the Supporting Actor Oscar, is riveting as the troubled Conrad, trying desperately to find happiness in his life. No longer finding joy in participating on the high school swim team, he seems lost and alone. Watching him trying to connect with his mother is especially heartbreaking, as she seems rather disinterested in him.

Those having watched Mary Tyler Moore in her self-titled hit sitcom and the classic Dick Van Dyke Show are in for a shock. Her character is outwardly pleasant but inwardly cold. She has stopped trying to feel, perhaps in response to Buck’s death, and the result is someone whose husband and younger son may be slipping away. Her unwillingness to compromise or make sacrifices for the sake of her surviving child makes her an off-putting character to say the least. Thus her husband eventually finds he must choose between his wife and son as the spouses have totally opposing views on how to handle Conrad.

Opting for as realistic an approach as possible director Redford does not employ an original score. Occasionally a piece of classical music will be heard but much of the movie plays without background music. By not providing musical clues as to how scenes will play out Redford allows sudden emotional bombs to be dropped on us without warning, such as the fate of one of Conrad’s friends. Redford effectively contrasts the world of properly cared for lawns and dinner parties against the disorganized and fragile mental state of Conrad.

The film’s ultimate point appears to be that families will sometimes need to venture outside their comfort zone to remain comfortable. Private pain must be made public if it is to be adequately explored and coped with. Not doing so only makes matter worse. And since, as the title implies, this story could apply to all of us at some point, we should head its warning. Pain can be a great divider but also serve as a great unifier. Ordinary People suggests we should strive for the latter.