Based on Margaret Laurence’s best selling novel and directed by upcoming Canadian director Kari Skogland (the little seen SIZE OF WATERMELONS), THE STONE ANGEL centres on Hagar Shipley (Ellen Burstyn).  The film begins as fiercely as Hagar is feisty.  Ageing Hagar is brought to a nursing home against her wishes by her son Marvin (Dylan Baker) and daughter-in-law (Sheila McCarthy).  She escapes as director Skogland reveals her life through flashbacks with other actresses portraying Hagar at various stages of her life.

THE STONE ANGEL is an emotional journey that shows that life is no simple path with straight forward choices.  Putting too much hope and love on one son does not necessarily produce the results one expects – as Hagar realizes.  Skogland’s film works primarily for she and Burstyn have created a powerful heartfelt character.  The audience sympathizes and relates.  This is a story of a dysfunctional family driven by incidents and has less (thankfully) of an art feel to it.  Other issues such as ageing, redemption, sibling rivalry, small town mentality and pride are also effectively dealt with.  Several references are made to angels such as the statue and the ‘angelic voice’ that suddenly emerges from a reverend’s voice as he (Ted Atherton) sings “All People that on Earth Do Dwell” (the film’s best segment).

The film is aided by a fine Canadian cast that includes Ellen Page (JUNO) as Arlene and the excellent Baker (FIDO and HAPPINESS) and especially McCarthy (I HEARD THE MERMAIDS SINGING) who brings an extra dimension to the role of Hagar’s long-suffering care-giver daughter-in-law.

THE STONE ANGEL could be helped if Skogland varied her film’s pace a bit. The dialogue is livened by Hagar’s occasionally spiteful comments and musings.  THE STONE ANGEL depicts the life of a good intentioned but imperfect mother.  The remarkable thing of Skogland’s film is they way she affects the audience as more of her film unfolds.  THE STONE ANGEL is the most appropriate film that should be seen on Mother’s Day.  But it should be viewed mostly for Ellen Burstyn’s stellular performance – her best since her role of Alice in Scorcese’s ALICE DOESN’T LIVE HERE ANYMORE.