It is undeniable that Phil Robertson has been an important figure in modern American culture. The reality show about his family, Duck Dynasty, was a phenomenon. He has been active in politics and religion. The Blind is a biographical film about his early life. Robertson fans will certainly understand. Viewers less familiar with the man may also enjoy it, as he offers insight into how and why he has struck a chord with millions of people.
A framing device has Phil (Aron von Andrian) telling his story to his close friend Big Al Bolen (Connor Tillman) on a hunting trip. Through flashbacks, we see his impoverished childhood, where his father teaches him to hunt for food. As a teenager, he meets Kay (Amelia Eve) and falls in love with her. Shortly after graduating, they get married and have children.
Director: Andrew Hyatt
Writers: Andrew Hyatt, Stephanie Katz
Stars: Aron von Andrian, Amelia Eve, Matthew Erick White
Phil develops a drinking problem and before long his life becomes less about family and more about drinking and duck hunting. From there, the film shows how Kay turns to Pastor Bill Smith (John Ales), and eventually God, for help in dealing with Phil's destructive behavior, and then how she inspires her husband to similarly seek healing through faith. Phil develops a revolutionary duck call in the process.
A big part of The Blind's appeal is its rags-to-riches trajectory. We've seen a million stories about people who came from humble beginnings and achieved great success, but the details are different every time. Here, director Andrew Hyatt and his co-writer Stephanie Katz emphasize how everything that would lead to Phil's eventual success came from what he learned as a child. The tools were always there; excessive alcohol consumption simply got in the way. Once he addresses that, a sense of clarity emerges that allows him to fulfill his destiny.
The film also functions as a portrait of addiction. Without falling into over-the-top melodramatic scenes, The Blind offers a realistic look at how alcohol dependence affects marriage. Various stages of Phil's alcoholism are accurately portrayed, as is Kay's breaking point when he recognizes that enabling his compulsion to drink is no longer viable. Aron von Andrian and Amelia Eve give excellent performances that capture the changing dynamic between Phil and Kay as they navigate the rollercoaster of codependency.
As far as the message of faith goes, it is conveyed more organically than one might expect. Admittedly, the dialogue in the wrap-around scenes is a little too on-the-nose, and a post-movie appearance by the real Phil Robertson unnecessarily explains what we've just seen. However, throughout the main story, the idea of turning to God in times of personal struggle is sincerely dramatized. Kay doesn't know where else she can turn for help. She finds it in faith. Phil sees the difference he makes and does the same, not knowing where else to look either. That seriousness is inspiring.
The Blind ends with the implication of what is to come for Phil Robertson: a royal dynasty based on duck calls. Thanks to his righting, several generations of Robertsons have become known throughout the world. More than anything, this is the thought-provoking core of the film. Without sobriety, none of this would have happened.
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