Director/Coscreenwriter: Andrew Williamson
By Marilyn Ferdinand
I can hear the cries of “traitor” already, but I’m not the kind of film buff who thinks celluloid is essential to filmmaking or viewing. Human history is entwined to such an extent with innovation—the kind that gave us celluloid in the first place—that we could argue that it, not language, is what gave us dominion over the land. I welcome tools that, when put in the right hands, make our lives richer, and that certainly applies to the method of filmmaking and the content of The Land of Eb. Without the cost-saving innovation of HDCAM that gives independent filmmakers like Andrew Williamson the ability to make and distribute films with little commercial potential, this moving story might never have seen the light of day. For the Marshall Islander who is at the heart of this lovely Marshallese-language film, video is a way to preserve his culture and memories and bridge the gap to his family living near the home he was forced to leave in order for them all to survive.
Jacob Jackson (Jonithen Jackson) is a 56-year-old coffee-bean picker and handyman from Enewetak, an island mainly destroyed by U.S. atomic bomb testing, who lives in a small Marshallese community on the Big Island of Hawai’i with his wife Dorothy (Tarke Jonithen) and his children and grandchildren. Daughter Ruth (Rojel Jonithen) has just given birth, but Thomas (Jeff Nashion), the father, is a ne’er-do-well who has no plans to marry Ruth and who routinely turns to Jacob for help when he gets drunk or in a jam. Jacob is a pious, hard-working patriarch who has little patience with Thomas. He is also living with the unpleasant secret that his status as cancer survivor has changed back to cancer sufferer. He decides that it is God’s will whether he lives or dies, and rather than endure exhausting treatments that will make him unable to work, he tries everything he can to make enough money to pay off the mortgage on the land he has purchased to secure the future of his family before the cancer finishes him.
When I first read the summary of this film, it reminded me of Akira Kurosawa’s masterpiece Ikiru (1952), but the resemblance in terms of plot is superficial. Like Watanabe, Jacob has cancer, and like Watanabe, his family is far away. Unlike Watanabe, it’s not clear whether Jacob is actually terminal and many members of Jacob’s family are literally far away, whereas Watanabe has lost touch emotionally, not physically, with his son. Where the two films come into beautiful accord is in the quiet determination of both men to accomplish a task they consider very important—Watanabe tries to get a playground built and Jacob works to pay off his land—and we come to care very much about them and root for their success.
Williamson doesn’t have a single professional actor in the cast; indeed, he and his coscreenwriter John Hill met Jackson and wrote a film for him, so interesting and inspirational did they find him. Jackson is a video enthusiast, and that passion is included in the film—in the video diary Jacob makes for his children and grandchildren with lessons on life and stories of their culture for them to view after he is dead, and in the ingenious camera boom he builds out of tripods and odd lengths of metal. Jacob tinkers with motorcycles, keeps an ancient pick-up truck running and a jerry-rigged ham radio connection with his relatives in the Marshall Islands. He has electronic musical instruments stashed around the family compound, which itself is a collection of buildings with one single-story “lodge” as the main family home. It reminded me of a city loft or some South Seas homes I’ve seen in pictures that are wide open and roomy. Despite the odds-and-ends furnishings and dime-store decorations, I found it very inviting, and the only explanation for my reaction is that the house is truly a home, filled with love and togetherness.
Williamson builds a quiet rhythm out of Jackson’s everyday life. We watch him pick ripe coffee beans off tall bushes and drop them into a plastic bucket harnessed in front of him. He empties the beans into burlap sacks. He brings the receipts from the sale of the sacks to his boss. He asks his boss if there’s anything else he can do to make some money—not extra money, no such thing in his world—and the boss says there’s nothing. He goes to a flea market and gets the idea to sell some of his stuff there. He brings a picking crew to a mean, old haole who promises to split the take 50/50 and then, predictably, cheats him. He gets sick and crashes his truck into a port-a-let. He never complains—he just keeps moving, and we keep pace.
Williamson allows us to fall more and more in love with Jacob with small, intimate moments and gestures. When his family takes his car keys and there’s nobody to drive the grandchildren to band practice, he walks with them there and listens patiently as they bleat and strain like elephants in heat. When Dorothy learns he is sick again, her gruffness doesn’t exactly vanish, but rather transmutes into something more personal. She joins him at the haole’s fields to pick beans, and they share a smile and briefly hold hands. When Jacob is exhausted, he moves slowly toward the ocean. Williamson gives us a brief view of the lapping waves, and that’s it—just a quiet look toward his home across the sea. Notably, this film is not seduced by the alluring scenery of Hawai’i, so we concentrate on the human story far away from the tourist traps.
As Jacob has a warming, ennobling effect on us, he gets to Thomas as well. Forced to rely on Thomas to drive him around, Jacob provides an example of how an honorable man lives. To emphasize this life lesson, we get the story of the Land of Eb. The story tells of a young man who is sent to bring clams to his starving village, but who greedily eats them all instead. On his second attempt, he does the same thing. On his third try, however, he returns to an empty village. The villagers have gone to the Land of Eb, below the sea, where they can eat clams to their hearts’ content. By failing the collective, he has made himself a lonely outcast.
The conclusion of the film leaves a number of threads loose. We don’t know if Thomas will step up to his responsibilities or whether Jacob will survive following the operation his doctor has scheduled. Whatever the outcome, we know that this family and community have the determination and collective spirit to go on, and that’s quite a lot indeed.
The Land of Eb is available worldwide on iTunes February 25. The DVD is available February 26 here.