Tune into "Frequency"

by Jon Chattman

04-20-00

At one time or another, everyone wishes they could change back the hands of time and change an event that has changed their lives forever.  The new film  "Frequency," a mostly powerful movie makes that wish a reality.  Dennis Quaid stars as firefighter Frank Sullivan, an all-around good guy, loving husband to his nurse/wife Julia (Elizabeth Mitchell), and father of six year old Johnny (Daniel Henson).  He is also seen making contact outside of Queens on his ham radio, and rooting for the New York Mets and their quest to win the World Series.  He even risks his life to save a life within seconds of an explosion, in part, so he won't miss Game One of the 1969 World Series.    His heroics, however, go down in flames on one October day, where a warehouse fire claims his life.

Thirty years later a 36 year old John (Jim Caviezel), now a city cop, stumbles upon his father's ham radio on the eve of the 30th anniversary of his father's death. A lonely John toys around with the radio and through a mystifying sky storm, known as the aurora borealis and the static,  John makes contact with a man who says he is a firefighter awaiting for the Amazin' Mets to play in the Series.

The two men soon learn that they are-indeed- father and son, and the more they share, the more John is able to reclaim the childhood he lost when his father's died.  John also discovers that it's not too late to change his father's fate.  Thanks to his son, Sullivan has a new lease on life after being warned about the warehouse fire. 

Unforunately, the perks of altering the past, have its downfalls.  With each move the elder Sullivan makes, the more changes occur in the present day as Sullivan inadvertently causes his wife's murder by a serial killer. The film finds father and son in parrallel universes trying to save the lives of not only Julia Sullivan, but of future victims of the serial killer-and they're running out of time.

Speaking with a Queens accent, Quaid has his best role in years as Frank Sullivan.  He emphasizes his love for his family, his determination to save lives and take risks as a firefighter, and is truly believable for his love for the Amazin's.  Quaid charismatically shows his love for family in scenes in the old past and new past. He respectively shows his love for his "little chief" (Johnny), by trying to teach him how to ride a bicycle, and later conveys his love of family when he escapes the warehouse fire in the new past, vowing to never leave his family.  He also shows his determination to save his wife, acting as more of a cop than firefighter-thanks to the assistance from his now-grown up son.

Where as Quaid's performance is charismatic, "The Thin Red Line" star Caviezel is bland. He plays John as if he's trying to replace Rick Schroeder on "NYPD Blue," offering far less depth.  He finds it difficult to convey real emotion while talking to his father for the first time in 30 years on the wire.   The role called for a more convincing portrayal, but to his credit, he does speak in native Queens tongue perfectly.  He also offers up one raw scene where he confronts his mother's possible killer towards the film's end. 

The supporting cast is not only wasted by act as if they are out of a soap opera.  On the other hand, Julia Sullivan, who portrays John's mother, convincingly portrays an overprotective wife and mother.  The actress, who starred opposite Anjelina Jolie in HBO's telefilm "Gia" and will next be seen as Linda McCartney in a television film biography, shows this especially in scenes  opposite Quaid, particularly the film's opening scene where Quaid's character returns home after showing heroics within seconds of an explosion.  The usually reliable Andre Braugher, of TV's "Homicide" fame, has nothing to do as the stereotypical family friend, Satch, a man who also happens to be a cop-how convient.  Noah Emmerich (the screenwriter's brother) as John's best friend Gordo finds himself restricted to a couple of one-liners, and several scenes to add humor to a heavy dramatic film.

Also worth mentioning is newcomer Shawn Doyle, who resembles Rufus Sewell, as Jack Shepard, a fellow police officer who is hiding something. Toby Emmerich's first screenplay is filled with "Back to the Future" moments and soapy characters and some sudsy moments (ie. see the "A League of Their Own" ending),  but  he manages to bring a solid story to the screen about a son reclaiming his childhood and father figure.

Despite the obvious recycled time travel elements of the Michael J. Fox hit film, it is a kick to see pictures in the present disapearing and reappearing because of changes made in the past.  In addition, the script nicely shows how changes in the past immediately changing in the future-for example, if Sullivan burns his desk with a cigarette, it will show immediately in the present for John. 

On the other hand, Emmerich, and to a degree director Gregory Hoblit, have difficulty differentiating whether they want the film to be a science fiction or a murder-mystery thriller film.  The first half concentrates on the ham radio linking father to son, while the second concentrates on stopping Frank's wife and John's mother's death from a serial killer.  Paying less time establishing the first half could have been better.

As he showed with one of last decade's best thrillers, "Primal Fear," Hoblit, a former award winning television director for such shows as "NYPD Blue," can easily command a big screen film.  By interchanging between past and present, he knows how to raise the suspense levels. One particular scene that Hoblit thrives in is going back and forth between Sullivan's warehouse fire survival and of John dropping his glass at a bar reflecting on new memories that begin to pour into his head. 

The film's direction is matched by cinematographer Alar Kivilo's work, special effects by Rhythm & Hues studio, inc., and believable make up by  Leslie Fuller, Michelle Bruno, and Verne Caruso. Michael Kamen's score also adds is also in tune with the plot.

"Frequency" makes one realize that perhaps wishes can come true, but you should be careful what you wish for. While it could have made more waves,  "Frequency" is powered by a great central performance by Quaid, a solid script, and skillful direction.

Grade: B+