The Grand Son

The Grand Son is a arresting family drama-thriller that came out in 2018, directed by Robert Logevall and featuring Rhys Wakefield, Lesley Ann Warren, and Sarah Clarke. An emotionally riveting and intellectually challenging cinematic experience, The Grand Son throws light on the dark underbelly of privilege, entitlement, and profound familial dysfunction. It draws the audience in by marrying the decadence of wealth with the destruction of morality, thereby leaving its indelible mark.

The lead character Todd (Rhys Wakefield) is an entitled, privileged young man who lives with his grandmother, known as “Granny” (Lesley Ann Warren), in Los Angeles' wealthy area. Todd has everything money can buy, but he lacks most moral compass and ambition. He spends his time perfecting the art of indolence, splurging irresponsibly, and brooding. The movie explores his life from close quarters, bringing out an interesting interplay of character complexities and the grim realities of opulence.

A quality that fascinates the audience is Todd's striking handsomeness, which is in sharp contrast to the depravity of his actions. This fascinating dichotomy between the character's charm and his actions makes him enigmatic and dramatic. Rhys Wakefield delivers a power-packed performance, nailing Todd's ennui and entitlement, and bringing out the dilemma of his humanity caught up in his darker instincts.

His only discernible human connection is with his high school friend Luke (Fabianne Therese), who is the family maid. Luke, unlike Todd, is industrious, grounded, and dreams of a better life. Her character is perfectly contrasted with Todd's - the difference between them map out the enormous gap of possibilities and aspirations between different segments of society. But Luke's dreams involve her boss’s grandson – a dream as tormented as it is precarious, adding a layer of uncertainty and tension to the narrative.

Nobody can overlook Lesley Ann Warren's impactful performance as the vile, elderly matriarch, Granny. She brilliantly portrays the character of a manipulative, abusive woman, fueling Todd's pride and self-indulgence without blinking an eye. Granny's glorification of the blue blood and her casual shrug towards indecency add a distinct yet repelling charm to her character.

Sarah Clarke plays Amanda, Todd's neglectful mother who is barely present in her son’s life, mostly due to her own vortex of regrets, pills, and resentment. Clarke’s performance is noteworthy and enhances the overall tone of the narrative.

The movie excels at maintaining tension and an eerie atmosphere throughout its run, thanks in part to the cinematography by Pietro Villani. The film uses a lot of long shots and tracking takes that add to the film's ominous aura and helps portray the characters' alienation and despair.

The Grand Son is far from just about societal codes or lack thereof; it’s a morality tale, a snapshot of the shrouded layers of elitism and its pernicious ‘side-effects'. It is about the human capacity for greed and apathy, capable of reaching terrifying heights when cloaked under unchecked privilege and entitlement. It shows the intersection of corruption and wealth, and the crushing loneliness it breeds.

The movie demands the viewers' attention and doesn't shy away from making the audience uncomfortable. Its lack of cliches, clever storytelling, with an intensive look at a dysfunctional family and exploration of moral decay, gives it an edginess that thrive throughout every scene. With skillfully developed and complex characters, top-notch performances, especially from Rhys Wakefield and Lesley Ann Warren, The Grand Son isn't just another run-of-the-mill drama; it's an intellectual, dark exploration that will keep you engrossed until the end, leaving you with a lingering sense of discomfort and thoughts to ponder over long after it ends.