THE WAY marks the fourth feature collaboration of farther-son combo Martin Sheen and Emilio Estevez, and it feels very much as if this is the film they have been waiting to make together. It is a deeply personal story – something of a celebration of spirituality, with strong themes of father-son relationships. And, under the direction of Estevez, they have produced a decent little drama – structurally, thematically, and visually sound. But there’s something missing from THE WAY. Though this personal venture has clearly struck a chord with Sheen and Estevez, audiences may struggle to connect in the same way.
The film follows Tom (Sheen), who, after the death of his estranged backpacker son, Daniel (Estevez), travels to France to claim the body. On learning that Daniel died whilst walking the Camino de Santiago – an epic journey traveled by pilgrims for a thousand years – Tom decides to reconnect with his son by completing the journey himself.
The premise is born out of the real-life relationships that inspired the movie – Sheen and Estevez, Estevez and his own son, and Sheen and his late father (to whom the film is dedicated) – and the literal journey becomes a metaphorical one as Tom strives to make peace with the loss of the son with whom he had parted on bad terms. And the literal journey is a satisfying one – the landscapes are stunning, beautifully shot by the keen eye of Estevez. The figurative journey, however, is less satisfying, as the script never manages to get under the skin of the real issue, namely the grief of losing a son.
Despite this, Sheen makes the most of what he has to work with, delivering a understated performance that validates his status as one of Hollywood’s cult names. And the supporting performances are pleasant enough – from Yorick van Wageningen, Deborah Unger, and James Nesbitt – but they are limited by relatively flat and predictable characters. Regardless, there is something undoubtedly likeable about THE WAY, something mostly down to Sheen himself. And there are moments of genuine tension amongst the lightweight drama – the numerous scenes in which Tom apparently loses his backpack (along with Daniel’s ashes) have the desired effect, even if the outcome of such moments – or indeed, the film itself – is never in doubt.
In addition to the by-the-numbers journey, Estevez has attempted to tackle some weighty issues. There is a inherent question of what makes a true pilgrim, and the script makes an effort to ask big questions about who we really are – but the answers feel so rooted in religion they may be difficult for some viewers to engage with.
For all its faults, there is little to offend audiences in THE WAY – it lacks in depth, but is never shallow; it has religious undertones but doesn’t preach; and though the inner journey is all-too predictable, its doesn’t veer into cheesy territory too often (although the soundtrack does grate throughout – no one needs a montage set to the sounds of Alanis Morrisette). Though it lacks in the emotional punch it promises, it is unlikely that audiences will form any kind of dislike for THE WAY – it’s perfectly competent and sweet enough to hold the attention (though possibly thirty minutes longer than it should be).
It’s clear that THE WAY is a very personal journey – but that journey appears to not belong to the audience, but to Sheen and Estevez.
