Son of the South

A spoiler light review of Son of the South should begin with tone, because Barry Alexander Brown understands exactly how this biographical drama ought to feel. Son of the South gains early credibility from Lucas Till, whose presence is balanced by the different rhythm of Jim Klock. The foundation of Son of the South can be stated simply: The true story of one young white Southerner in the Summer of 1961, caught in a place and time where he had to choose which side he was on. Within its 1h 45m running time, Son of the South reveals both the benefits and the limits of that disciplined approach.

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As director of Son of the South, Barry Alexander Brown proves engaging in bursts but unable to maintain the same control in the transitions between intimate material and larger demands. A strong scene in Son of the South often begins with a modest detail before Barry Alexander Brown lets its meaning expand. For Son of the South, worthwhile ideas compete with an uneven structure because the central tone remains visible even during busy passages. The weakness in Son of the South is that the pace alternates between hurry and drift, although Barry Alexander Brown usually finds the original rhythm again.

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Son of the South uses its biographical drama framework to consider the distance between a public legacy and the private person behind it. For the character played by Lucas Till, that idea gives Son of the South stakes beyond the next immediate obstacle. The recurring pressure of Summer of prevents the theme in Son of the South from feeling like decoration added after the story. Barry Alexander Brown makes Son of the South more thoughtful whenever the implications remain inside action and reaction.

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Performance is the clearest human asset in Son of the South, beginning with the committed centre provided by Lucas Till. Jim Klock keeps Son of the South from settling into one emotional register by approaching the material from another angle. The presence of Michael Sirow gives the surrounding world of Son of the South additional texture without distracting from the main line. When Barry Alexander Brown holds on a reaction, Son of the South communicates more efficiently than another explanatory exchange could manage.

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The narrative of Son of the South works from a simple but productive collision between Southerner and Summer of. Through Lucas Till, Son of the South keeps that premise rooted in a reaction the audience can understand. Barry Alexander Brown introduces the central character at a useful point, giving Son of the South a reason to change pace without abandoning its emotional line. The handling of an important relationship is not equally fresh, yet Son of the South usually earns attention through clarity rather than surprise alone.

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Son of the South gains much of its identity from performance led storytelling, a choice that makes the world readable as well as attractive. The contribution of El Ride Productions allows Son of the South to combine performance led storytelling with a consistent visual language. Within its United States setting, Son of the South makes particularly good use of period detail when the story needs to change scale. Sound and editing preserve the personality of Son of the South by supporting detail instead of announcing every intended response.

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Overall, Son of the South amounts to a qualified recommendation and should suit viewers who enjoy biographies built around contradiction rather than worship. The combination of Lucas Till, Barry Alexander Brown and performance led storytelling gives Son of the South a specific identity. Although the pace alternates between hurry and drift in Son of the South, the film recovers through craft and committed performance. For the audience it understands, Son of the South offers enough character to remain worthwhile after the immediate plot has faded.