Cast in Gray (2005) User Reviews

Leads you to water, lets you take your own drink

[bjengs · 8/10 · 20 June 2005]

Saw this at the Midwest Independent Film Festival. Really enjoyed the ambiguity of the symbolism. Very clever - the symbols work for Christian viewers as well as devotees of modern psychology, myth structure, what-have-you. The question lingers, of course, at the end: was it a dream? Was there even ever a man and a dog? Was this truly a wayfarer or was this the inner struggle made flesh? The case for the wandering man being Christ is strong if you tend toward those lines of thinking (obviously that's my first leaning): he died for the main character's sins. Then in that case what is the dog, but the burden of caretaking, the concept of blind selflessness and charity towards others ("he doesn't have a name"), that Christianity extols? I cannot speak for other worldviews' interpretation of the movie but I am sure there are similar explanations for Freudian, Jungian, etc., paradigms.

Conversations with the filmmakers revealed that there intentionally was no one true explanation of the film. A story of redemption and sacrifice, laden with traditional symbolism, that lets the viewer take from it what he wants. Strongly recommended.

excellent

[jknowles-4 · 9/10 · 18 November 2005]

It is the most patient film I have ever seen!

Very deliberate, which makes the viewer have to use his imagination rather than have others tell her how to feel, think, etc.

I kept waiting for the dialogue, acting, scenery, whatever, to create my next feeling or thought and then I realized that I was doing so on my own. That was remarkable.

The mystery of the hitchhiker and his dog still bewitches me. So many meanings that all seem right.

The driver; he is all of us at one time or another.

I recommend this short to everyone.

Cast In Grey was entertaining and thought-provoking.

[Michaelozier · 8 June 2005]

I saw Cast In Grey for the first time last night. It is first class entertainment with thought provoking themes. Michael Toth's dialog was perfectly tuned to the mood and pointed clearly to the specific spiritual and psychological themes the film was apparently designed to evoke. The spiritual symbolism in the film was tasteful and well done to serve the theme - not overdone, as is so often the case. The film's themes were further framed by Toth's spare but pregnant dialog and his mood-creating cinematography. I don't consider myself the most sensitive viewer of films, but I can't say when a film has produced more delightful idea-fare for me. See it now! Michael Ozier - Columbus, Ohio

Handsome effort but far too long.

[Mike-2692 · 6/10 · 19 September 2005]

"Cast In Gray" was a noble effort and has all the earmarks of "looking" like a good film. That is to say it is well shot and the actors deliver workmanlike performances. One gets the impression that the talent here delivered work that was adequate to the material. Had the script been better, then the talent would have had more to deliver. As it was, they were not amateurish, but neither were the performances stellar in any way. About as good as you'll find on a "B" television soap.

The story had the best of intentions. And, though I am a fan of a well-paced character piece in the classic European style, "Cast In Gray" simply did not approach that ideal. It wanted for energy, starting off nicely but quickly becoming lethargic. A seasoned editor could easily take this 39 minute piece and turn it into a fine 20 or 25 minute film without robbing it of any sense of cadence or steadiness for which I'm sure the director was aiming.

I enjoyed very much what the filmmakers were attempting, as I had the opportunity to see this piece at the Los Angeles International Short Film Festival. The director was in attendance there and announced his intention to turn this piece into a feature. I would urge him to seriously reconsider.

"Cast In Gray" has one dramatic reveal and it takes far too long to play out that element with few surprised along the way. This film should be shortened — not elongated.

Despite this shortcoming, the film is a handsome effort and should not be completely dismissed out of hand.

- a brilliant film, the best film I viewed at the Phoenix Film Festival, 2005

[lswkillian · 10/10 · 16 May 2005]

Friends at Life Is A Dream Productions, I have now viewed your film, Cast in Gray, many times. To me this film is, indeed, a dream (it has one character). A man at wit's end finds his new self in a dream which was sparked by a close brush with death by suicidal thoughts and action. In this dream he is visited by an angel and a god (dog spelled backwards, unconditional love; interesting that we find the dog's name, Bibo in the credits, if that's a long "i" it sounds a lot like bible). In this dream the man finds his own dream fulfilled, that is, his old life is gone, and now he will pursue his dream, perhaps his passion, for acting. Money, machine (car, cell phone), and the unhappy institutions of employment and marriage have let him down; he may return to his marriage ultimately, but it will be under completely different understandings. He has to nurture the unconditional love that is now in his life ON A DAILY BASIS; he will be focused, and his priorities appear to have been totally rearranged (he sacrificed his old self for atonement and redemption of the new). In the struggle within his many selves there emerges a sense of direction, and he crosses the necessary bridge to his new life. The dream was indeed spiritual; I couldn't find the spiritual symbolism of the triangle other than the typical Christian trinity, but this film goes much deeper than Christianity. There is the storm metaphor beautifully played out, and there are the spiritual symbols of the water and other elements, wine, bread and nutrients, incense, chalice(s), prayer, ethical reflection and "sin" language around suicide, and certainly hope (even the tree of promised life??). There is sensuality/sexuality all over the place...cup is symbolically (in classical literature) female organs and container (enclosed in the car) is the womb; cigars (about six to eight inches long); failed marriage; sensuous eyes of what I call the "angel" and of the dog. And the sounds are sensuous...rain, birds, composition, etc. Breath is important... one man's deep breathing contrasted with shallow breathing of the man "on the run." Certainly there is death/resurrection, redemption and change. The new man will breathe differently. The full moon has some significance that I'll figure out sometime. The film is clearly about the formation of a new man. The director, I. Michael Toth, telling us at the Festival that he "dreamed the story, including the prayer" and the Life Is A Dream in the production title are both consistent with my understanding of the film. The acting/directing/editing are brilliant. The title: Cast in Gray...the gray zone, the in-between time, life between the parentheses??? Certainly the weather, season, tones, etc in the film are gray, but the title is deeper than that, I think. The selves within this man are trapped, one by his choices, one by his freedom -- What to do with the trap? - face your truth, become who you really are, and be grateful for the people, the pain and suffering, your history, etc. which have made "the new you" possible. The spiritual self had good important messages for the man at the wheel, he just needed to position himself in such a way that he could hear..."okay," "maybe I can help you," "let's pray," "have some faith," and "the dog stays with you...feed him once a day." Earth, air, fire, and water unite to bring the quadrants together in this man's life, or as Elizabeth Kubler-Ross would say, the physical, spiritual, intellectual and emotional quadrants were moving toward integration by the man claiming his I-ness, his true self -- a self that only The Other could see and bring out. Now it's a time to improvise, to go with the flow, grow through it, whatever 'it' is. This is a marvelous film; I recommend it to everyone!!!!!!!!!!!!!!!!!!!! (questions: would the birds be singing in the rain and would the cows be leisurely eating during a storm???) William Killian, actor.

just beautiful

[Plbpi · 10/10 · 21 June 2005]

"Cast in Gray" is like the best of French cinema in lyricism and pacing. It addresses larger issues, however, than the usual French fare. The subjects of existential angst and "faith" or lack thereof are treated with a light touch in combination with masterful patience. The lush photography and the sound of the rain make the film a sensual pleasure without even considering the script. I might guess that there is something Eastern European and slightly dark in conception which is lightened by Michael Toth's sense of the magical. The script is spare. The acting is superb. The use of the dog is a brilliant and comic touch. This is a rare gem. I hope to see more of this filmmaker's work. It is just a beautiful film.

If you love indie films, don't miss this one.

[hunterlaur · 10/10 · 31 August 2005]

I first saw this film during a one year term as festival director for the Golden Film Festival. I knew the minute I saw it that it was an award winner. I. Michael Toth has created a visually beautiful and thought provoking work that successfully combines the elements of cinematography and drama. The piece is well, conceived, written, acted and directed - imaginative and unpredictable while relatively straight-forward and highly engaging. I am very confident that this film will experience great success, and that I. Michael Toth will go on to make a significant mark in American cinema. If you love independent film, this is one that you definitely want in your collection.

One Amazing Film

[Pyesmom · 10/10 · 22 June 2005]

I was swept away by the vision and the overall mood of the film. Stephen Angus' slightly sinister, slightly angelic performance literally sent chills up my spine! Timothy Burke was very believable as the man who had nothing to lose. The acting of the Dog, played by Bibo, was stunning, especially when you know that she has received NO formal training whatsoever (and she did indeed act, not react!). It is a shame that this film is not feature length, and therefore not available to a wider audience. I have heard that this is actually one segment of a trilogy that would be made into a feature-length film, and am eager to see what is to become of this. All in all, I'd say that everyone involved with this piece should be proud of what they have accomplished with it.

Good Film - edit down

[rusrobertblemker · 4/10 · 9 June 2005]

I saw this film last night at the Midwest Indy Film Fest in Chicago. I commend the filmmakers on a beautiful and challenging story and wonderful execution. I strongly disagreed with the length and labored approach in the final edit. I agree with the director that languor and easy films are needed in our fast pace world, yet, here the length is doing your film a disservice. The film lover next to me fell asleep! I struggled to keep interested.

As filmmakers you need to take a stand with your beliefs, but you need to realize the risks. Does this particular film need to be 39 minutes, 37, 22? Is that worth endearing the film to this part of the audience, while, this part of the audience falls asleep? I bring this up because I feel the film will lose nothing, and gain so much more, if it was tighter. The idea that you need a labored approach for this heavy theme is not a valid argument. Roman Polanski's "Two Men and a Wardrobe" is soaked with rich themes and is 15 minutes. Marcell Ivanyi's "Wind" is spell binding in the themes it introduces at 6 minutes.

Ultimately, the short film is a unique artform, complex and ever changing. There is a certain social contract that exists between filmmaker and audience on what that artform is. What is the general public perception on the range of length of the short film artform? Do you feel the labored edit of your story is justified by the power of the third act and the direction of the characters arc? Why do some people enjoy the pace of "Lost in Translation" but fall asleep here? You can break those conditions whenever you like, and I hope you do, just recognize the risk.

To end on a good note, I like your effort now; I'll love your film after a tighter edit.

A work of exquisite beauty

[rore-2 · 10/10 · 20 June 2005]

Cast in Gray is an extraordinarily poetic work. Every aspect of it, from the narrative conception to the sense of movement to the editing and (not least) the cinematography, strikes a stunning balance between dazzling clarity and a vague dreamy quality. I found myself clinging passionately to its every moment. How rare that a film nowadays can carry off such daring lyricism, holding us in the cup of its hand with an absolute minimum of dialog, incident, cutting, scenic variety, or any of the other strategies utilized to make films move along. There is a tough-minded discipline to this film that gives it enormous credibility. But it is also a heartbreakingly kind and gentle film. It is truly not to be missed.

Intelligent film-making in search of an intelligent audience

[Lias · 10/10 · 17 March 2006]

What is the difference between a movie that is "okay" and a movie that stays with you long after you have seen it?

It boils down to the ability of the film-maker to make the elements he has at his disposal work together to tell a story. Does he turn the camera on and point it at the actors, or does he compose his shot to give the audience information about the characters and the story? Does the mood created by the words on the page of the script work with the visual elements to create a world within the film that we believe in? Have the actors been brought into the process in such a way that their performances make us interested in that world?

In the case of "Cast in Gray," the answer to all of the questions above is a definitive "yes." We are taken to a world that, though not specifically unrealistic, somehow exists in that part of the mind where the rules may have been suspended. That, or the character called "The Man" is in such a strange state of mind that it is he who has gone to that part of the mind. In the role of "The Man with the Dog," (a different person than "The Man") Stephen Angus creates an utterly mysterious character with an effortlessness that is in such contrast to the tempest he creates in his scene partner, (the besieged Tim Burke,) that it is impossible to look away from his face. The considerable power of this performance lies in the absolute calm with which it is executed. Is he a puppeteer, a madman, a messenger or something else altogether?

Don't blink, viewer, if you want to make your own case for what is going on.

Intelligent film-making in search of an intelligent audience. Thanks, "Cast in Gray."