David MichĂ´dâs ANIMAL KINGDOM features one of the quietest protagonist youâll ever meet. Heâs âJâ (James Frecheville), a good looking kid with a heavy brow and downcast eyes, and in the first moments of the film â one of the strongest opening scenes Iâve seen in a while – heâs on the couch watching the telly (this is an Australian film) with his mum, who is asleep. Only sheâs not asleep ⌠(SPOILER ALERT â âinciting incidentâ about to be revealed right here and now) ⌠sheâs âgone and ODâd.â As the paramedics take her away, J, now fully alone, calls his estranged (no joke) Grandma Smurf (Jacki Weaver), and within minutes sheâs on her way to pick him up . (âDo you remember where we live, Grandma?â âCourse I do darling!â) She proceeds to pull him firmly into her family of criminal sons; into the ANIMAL KINGDOM where the weakest are, well, devoured. In this hyper aggressive world, where men lunge at one another like lions, shoot cops, do drugs and kiss their mother on the mouth, how did MichĂ´d manage to pull off the writing feat of a passive protagonist? For much of the movie, J sits and stares, goes to his room and escapes to his girlfriendâs house. Passive.
Or is he?