THE WAY

By: debbie lynn elias

Emilio Estevez is not only a consummate storyteller, but an effectively collaborative filmmaker. He finds stories and inspiration at every turn and then becomes a meticulous researcher to insure truth, authenticity and immersive emotion within the film. With THE WAY, the seed of the story came from someone dear to his heart – his father, Martin Sheen, compliments of his grandfather, Francisco Estevez, who served as Sheen’s own inspiration.

At the heart of THE WAY is the centuries old pilgrimage to Santiago de Compostela where the remains of the Apostle Saint James is entombed in a crypt beneath the main altar. An 800 kilometer trek, Camino de Santiago, or “The Camino” as it is commonly called, is the ultimate metaphor for life itself. It begins in the Pyrenees in southern France and ends in Santiago, Galicia, Spain. The reasons for the pilgrimage are personal to each individual and are as varied as the pilgrims themselves. Some walk for personal reflection or enlightenment, others for adventure. Typically, pilgrims carry a scallop shell to honor St. James. They also carry a Compostela, a passport which is stamped at each important stop along the journey before reaching Santiago at which point the pilgrim received a special certificate honoring their achievement.

Having heard about Santiago de Compostela for much of his life from his father, at age 62, Sheen determined to make the pilgrimage himself and did so in 2003 with his grandson Taylor (Emilio’s son) and a lifelong friend and actor, Matt Clark, who has a small cameo in THE WAY. On completion, he recounted the experience to son Emilio. It is Martin Sheenfs journey that inspired Estevez to tell the story of THE WAY; a story that touches four generations of the Estevez-Sheen family and one that this father and son could share on screen together by way of a fictional narrative setting.

Tom is a successful ophthalmologist. Living the good life in California, he is set in his ways and firm in his mindset. After the passing of his wife several years ago, Tom drifted apart from their only child, Daniel. As with most parents and children, Tom and Daniel didn’t see eye to eye on Danielfs life path. Tom wanted Daniel to finish his doctorate while Daniel, realizing the fragility of life, wanted to live life rather than study it. Taking off to trek around the world, Daniel rarely communicated with Tom, who had cloistered himself ever deeper in a routine of work and occasional round of golf with the guys. But then one day, Danny calls his Tom, only to leave a message with a secretary but no return number.

While on the golf course, Tom receives a call from Police Captain Henri in Jean Pied de Port, France. Danny is dead, killed during a storm while walking The Camino de Santiago. In shock and grieving, Tom heads to France to retrieve his son’s body and return to the States. But on inspection of Danny’s belongings and in speaking with Captain Henri, Tom makes a bold decision. He will complete the pilgrimage his son began…and so will Danny…as Tom determines to spread Danny’s ashes along The Camino.

Tom’s solitude and grief is soon interrupted as he meets, and is befriended by, other pilgrims along the way – the happy, outgoing and food-loving Dutchman Joost, a very unhappy and emotionally wounded Canadian woman named Sarah, and the egotistical Irish travel writer Jack – each with their own story or reason for the pilgrimage. As their bond deepens, so does Tom’s understanding of not only Danny’s quest for life, but his own.

Now his third film working with his son, Emilio, this is without a doubt, the crowning glory of Martin Sheen’s stellar career. As the private and introverted Tom, Sheen is glorious. With quiet dignity, he strips bare the raw emotion and confusion of a grieving father. You feel Tom’s wonder at discovering life, a sense of community, and a renewed sense of faith. Even in scenes with no dialogue (of which there are many), Sheen’s tacit earnestness is emotionally fulfilling and profound. And bear in mind, Sheen is now age 70. Not only did he again walk/hike The Camino for this shoot (and according to Sheen he has now walked enough kilometers on the way to earn 3 certificates), but in two critical scenes – rushing into a freezing river and floating downstream to retrieve Danny’s backpack and, chasing a young gypsy thief through the streets and alleys of Mexico – Sheen did his own stunt work.

Yorick van Wageningen illuminates the screen as the gregarious Joost. The joy and enthusiasm he brings to Joost is infectious. Equally impressive is Deborah Kara Unger. As Sarah, she is a contradiction of emotion, much of which is hidden and, like the character of Tom, is peeled away to the barest essence giving way to rebirth and healing. Ungerfs chemistry with Sheen, van Wageningen and James Nesbitt, who plays our Irish writer Jack, is compelling, likeable, believable. As for Nesbitt – wow! He introduces us to Jack with a frenetic, frenzied, fast talking monologue that just blows your mind. One look and you are hooked. And in one particularly effective sequence, he and Sheen just explode. Truly a perfectly cast ensemble group of very detailed, well written and structured characters.

And of course, I must mention Tcheky Karyo. As Captain Henri, Karyo brings the same kindness and gentility that we have seen from him in past roles. The peace and understanding that Karyo infuses into Henri sets the stage for Tom’s journey.

Emilio Estevez himself also appears as Danny. While there are some notable scene setting flashbacks, he also pops up along the Camino in the form of hallucinations to Tom. Most interesting is the facial expressiveness that Estevez brings in each appearance, speaking volumes as to the transformation taking place within Tom.

Written and directed by Estevez, this is truly his finest work to date. Estevez spent five years researching Santiago de Compostela and the Camino after his father suggested he write a film in which he could star and based on Sheen’s first 2003 Camino experience. After developing a strong narrative, honing in on the personal transformation that many often undergo on the pilgrimage, Sheen himself suggested scenes to Estevez to “liven up” the story. Some of Sheen’s contributions include the backpack in the rapids and the gypsy thief. Other light moments involving pilgrims met along this road well travelled often add humorous undertones of everyday events that are a welcome break from some prolonged scenes of trekking or very intense emotional hurdles. But at the heart of it all, is a journey – be it physical and/or spiritual – and the individuals who make that journey. The script and characters resonate within the audience.

The history that Estevez has interwoven within the story, is and of itself, fascinating. Celebrating that history, Estevez includes lensing of the Pilgrimsf Mass at the Santiago cathedral complete with the hoisting of the botafumerio (incense burner) which is then swung by men in the garb of medieval monks across the top of the cathedral. Awe inspiring to say the least. After seeing THE WAY, I would now like to see Estevez do a documentary on “The Making of THE WAY” complete with the backstory of all of the historical facts and points of interest…not to mention the logistics of the shoot.

The first American production on the Camino, THE WAY was shot over six weeks on location in Spain. Shooting in super 16mm, Juan Miguel Azpiroz’ cinematography is magnificent, serving as a wonderful travelogue showcasing not only the region, but some of the historical sites along the Camino. With a melding of intimate close-ups juxtapositioned against beautiful panoramic vistas, the visual impact is at times emotionally overwhelming. And as powerful as the exterior lensing, wait until you see the scenes inside the cathedral at Santiago, particularly a scene depicting Sheen’s Tom kneeling at the coffin of St. James with the silver tin carrying his son’s ashes. Chills and tears. Editing and pacing is relaxed and comfortable, boding well to balance the seemingly arduous physical trek before us.