A calm, steady observation on how people transition from one state of normalcy to another; what happens after the everyday life is fractured by trauma? My greatest praise for The Raging Moon is that the handicap isn’t overwhelmingly important. Still, the subject of disability isn’t passed without commentary; there’s a great deal to be said about the public’s notions on how we treat the disabled and how we assume they must feel. Rather, the essence of The Raging Moon is our journey of understanding; how we access the story of Bruce and Jill through their mutual situation.
An essential moment for understanding The Raging Moon is the church fundraising scene; occurring near the halfway mark between the duo’s story. The scene is: a bunch of rich snobs give pitying charity to the disabled as the wheelchair bound residents are paraded around for sympathy. Our couple, Bruce and Jill, decide to flip the script: what a freakshow it must be to walk on legs, what other tricks can they do? It’s a heartwarming moment that bonds the two, they comfort one another with their unity; meanwhile, the script doesn’t go heavy handed on the commentary, the first and foremost priority of the scene is to show that after the trauma, and the sadness, there comes normalcy again, life slowly resets to equilibrium and you can have it your way (maybe you can have more than you had before; who can be sure what to expect from the unexpected).
Now, the film isn’t a masterpiece, not even by the farthest stretch of the imagination, mostly because it’s fairly simplistic in its cinematic technique: the film starts, and continues, to feel like an English kitchen sink drama, except when it detours and reaches a little higher, but ultimately never surpasses their cinematic quality. Bruce and Jill’s character development is borderline cliche; he’s a little rugged, she’s a bit pristine: they compliment each other by learning self completion through the opposite’s best qualities. And sure you’ve probably seen it before, but the script is so well paced that you’d probably overlook these conventional tricks by praising McDowell’s performance and his endearing portrayal of what emotional recovery really is.
An unexpected joy. Sorrowful, semi cathartic, semi melancholic and an all round brilliant sleeper drama.