'His Three Daughters' 3 stars Cast: Carrie Coon, Elizabeth Olsen, Natasha Lyonne, Jay O. Sanders, Jovan Adepo, Rudy Galvan and Jasmine Bracey. Directed and written by Azazel Jacobs; produced by Matt Aselton and Lia Buman. A Netflix Films release. 101 minutes. Rated R (language). Streaming on Netflix.
We often kid ourselves into thinking that "keeping the peace" is the way to go where interpersonal issues are concerned. Whether it be a marriage or familial relationships, avoidance is the easier path to travel. Who wants to bring anything up that might ruin a family get together? And after a rough day, when I just want to have dinner and checkout in front of the T.V., do I really want to mention that thing that's bothering me with my wife?
Our reluctance to discuss concerns of this nature always comes back to haunt us, as they do the sisters in Azazel Jacobs' "His Three Daughters," a chamber piece in which the titular characters have gathered in a tiny New York City apartment, anticipating their father's death. Smartly written, the drama benefits greatly from the sharp performances from its veteran cast as well as a realistic sense of place that ultimately impacts its flawed, relatable trio.
Vincent's (Jay O. Sanders) health has been in decline for quite some time, resulting in his having in-home hospice care. His oldest daughter, Katie (Carrie Coon), has come to help him during what will likely be his final days. In reality, she's there to complain and cast herself as a victim, which is what she's always done. Harping on the fact that her father did not sign a "Do Not Resuscitate" order and myriad other slights, the thinly veiled barbs she continually fires off at Rachel (Natasha Lyonne), her stepsister, become more and more pointed as each day passes.
As for Rachel, she's shared the apartment with her father for years, looking after him daily, watching him slowly fade away. That Katie only lives one borough away and rarely comes to help out is conveniently overlooked by the elder sibling. The long-simmering resentment between them only increases as the days slowly go by. Rachel soon finds herself a prisoner in her own home, retreating to her bedroom to avoid any confrontations.
Christina (Elizabeth Olsen) is the one caught in the middle, the sister who got away, having married, gone to California and started a family. She constantly mentions how wonderful her life is yet laments the frantic pace of being a modern mother, complaints that seem insignificant to her sisters. At times, she seems to be a step behind her sisters, her way of coping with stress not as overt as theirs.
Though the film lags in the middle, for the most part, Jacobs' pacing is spot on, the tension between the three steadily building until the inevitable emotional explosion occurs. The director's script is grounded, each of the sisters displaying recognizable character traits. You'll be able to equate each of these women with people you know in your life, their behaviors typical of this sort of dynamic.
That's not to say the film or plot is predictable because of this familiarity. Rather, Jacobs uses this as a hook to reel in the viewer, using this relatability as an avenue for the viewers' emotional investment. Thanks to the strong work from the three actresses, this proves an easy task. Neither is anything less than compelling, what with the passion they bring to their roles. Containing some of the best performances of the year, this is an actor's showcase, and Coon, Lyonne and Olsen take the opportunity and run with it.
An unnecessary narrative device is used in the third act that proves to be an unnecessary distraction. It's as if Jacobs has a momentary lapse in judgement regarding the quality of his work. He need not have worried; his casting saves the day.