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I have seen “Ordinary People” at least a dozen times over the past 17 years. I was 15 when I first saw it. It is one of a small handful of films that I have turned back to over the years as I’ve grown for new insight and meaning with profound results (others include “Midnight Cowboy” and “Taxi Driver”). Each and every time I see this, I see something new and am still deeply affected.

People and critics throw out the phrase “works on so many levels”. This is an ideal film to model that nebulous concept. You could ask 50 people to screen it and ask them what they think it is about, and you would get 50 different responses. You could ask those same 50 people to screen it again in 5 years, and then ask them what they think it’s about. You would get 50 different responses again. And so on and so on. You would get “it’s about suicide”, “it’s about [someone] that dies”, “it’s about a family tragedy”, “it’s about teen depression”, “it’s about a cold mother”, “it’s about a dysfunctional family”, and on and on. These are all true (and then some) so it’s nearly impossible to describe this film in a nutshell.

“Ordinary People” (the movie and the great book from which it was adapted) shows us how families can go on for years and years (and even generations) without ever realizing or having to assess how everyone feels about one another. Some families get away with it, for things run smoothly on the surface. But sometimes things happen to shatter that facade. Could be an illness, a drug problem, a divorce, a death, whatever. Sometimes something so terrible happens that a family is forced to face each other and speak the unspoken. But sometimes, the unspoken simply cannot be spoken, at least by some of the members.

That is the case with this family. The mother is so empty and emotionally sterile that it is clear she had never been a true part of that family. At least outside of her first child. …The father struggled with his feelings, and wanted to share them, but probably felt unable to with such a cold, heartless matriarch in the family. And the… son didn’t know what… he wanted, and was caught somewhere between his mother’s sterility and his father’s earnestness. He was always trying to please both, never realizing that it would never happen with his mother. At least until [something happened], for which the guilt mounted and mounted (with little help from his parents to relieve).

Watching these three characters (well, two, really, for the mother is emotionally arrested) cope with this tragedy and assess their positions in the family unit is so compelling and so wrenching that it’s almost voyeuristic. Robert Redford’s direction really does feel like we’re peeking into the windows of a family that we “know” down the block. Little did we know (or did they) what was really going on.

This is a somber movie; it is not a simple TV movie-of-the-week. It shows that serious pain must be endured before pleasure can be found/regained. You can’t sweep anything under the rug. And honesty is a must in any family or relationship; communication is vital to its survival. There’s no way around it. Sometimes the communication will lead you to the worst conclusion–that you simply cannot get along–but the truth always prevails. Because only in truth can you even try to change/understand/improve things.

Technically speaking, this is superbly crafted. The acting is brilliant, the direction is penetrating, the dialogue ranges from exuberant to shattering, and everything else is perfect. I’ve seen a lot of movies, and it still amazes me that one of the most grueling, heart-wrenching pieces of acting I have ever seen was by young Timothy Hutton. The sight of his face and the sound of his voice will tear you apart. To me, that young actor carried the bulk of this heavyweight picture. He is nothing short of brilliant here. Donald Sutherland, definitely a great actor, hasn’t been any better than this. To me, he is the ultimate portrait of the honest man struggling with his confusing role as a father and husband. And Mary Tyler Moore, of course, is frighteningly intense as the mother; it’s impossible to link this woman to Mary Richards. Great support from everyone else, including the wonderful Elizabeth McGovern (with a character that receives much more development in the novel), and Judd Hirsch as the boy’s psychiatrist (their scenese together are brilliant).

I can’t stress this film’s importance enough. It demands multiple viewings. It is a shining example of how much insight film (and art in general) can shed on our lives if handled with care, taste, and realism. It covers ground that is universal to us all, regardless of family background. Don’t cheat yourself out of a profoundly moving experience. And it just might change your life. Now how many movies can you say that about?

(… This movie) won a Best Picture Oscar, so I figured it would be good. I had no idea. Ordinary People is an astonishing movie where nothing is as it seems. The title itself is ironic, because although the Jared family seems like your typical American family, they are by no means so. Mary Tyler Moore plays Beth, the emotionally retentive mother who would rather not face the unseen demons that are rapidly tearing their family apart. Her performance captures the inner coldness and turmoil that is necessary to the character. Donald Sutherland is also excellent as Calvin, the sociable father who feels somewhat responsible for the problems of the family and wants healing. The regret and sadness of his character shine through, what an excellent job. Judd Hirsch is Dr. Berger, the psychiatrist who helps the family try to heal. But the movie is stolen by Timothy Hutton, who plays the young son Conrad, who had previously attempted suicide. His portrayal of the anguished, emotionally dead Conrad is a virtuoso performance. Eventually, through the help of Dr. Berger, Conrad is able to stop blaming himself for the death of his brother and move on with his life. Perhaps the most tension-filled scene in the movie for me was when Conrad found out that his friend had committed suicide and he goes into the bathroom and turns on the warm water and we see the scars on his wrists, and we can only wait to see if he is going to try it again. Another thing, brilliant direction by Robert Redford. Instead of using indulgent film shots or camera tricks, he just allows the camera to focus on the action, the right approach, even though he might have been tempted to try that kind of thing to prove himself in his first film. This is a great movie, one of the best ever made. Make it the next one you see. However, the DVD version is a little plain (…).

The subtle masterpiece and Academy Award winner for best picture of 1980, “Ordinary People”, is a heartbreaking, character driven tale that evolves around the lives of an upper class, suburban family in Chicago. The troubled son, Conrad Jared (played by Timothy Hutton), must make an awkward and difficult transition into high school and home life after months in a mental hospital for attempted suicide, greatly due to the loss of his older brother. He is still haunted by his past and desperately longs for a connection with his distant and broken mother, Beth (played by Mary Tyler Moore), as well as a sense of belonging and normalcy, which he searches for during his weekly interactions with his psychiatrist (played by Judd Hirsch), who slowly unlocks the boy’s inner pain and mysteries. The concerned father, Calvin (played by Donald Sutherland) tries frantically to assure his son and piece the family back together; however the emotional struggles the family must endure brings out each member’s true colors and weaknesses, including the fathers.

“Ordinary People” is carefully crafted, incredibly honest, and touching. Each character is depicted with great depth and sincerity. Hutton delivered an intense, thoughtful and true performance, receiving a well-deserved Oscar for best supporting actor, although the title, best actor, would have been more suitable… the role was made for him, and he owned it with such care, often speaking more with his eyes and body language than words. Another highlight is Mary Tyler Moore, who tackled her first dramatic role amazingly, surprising audiences with her profound, Oscar worthy and most memorable portrayal. Hirsh (who was nominated for an Oscar for the film as well) and Hutton also had great chemistry together -playing off of each other very naturally – certainly a plus for fans of “The Sixth Sense”, “The Prince of Tides” and “Good Will Hunting”, and Sutherland gave a notable performance as the lost, but hopeful father – which led him to an Oscar nomination.

The characters of this film are surprisingly real and easy to relate to, even the adult friends of Beth and Calvin, as well as Conrad’s friends are so believable -making “Ordinary People” one of the greatest character studies of all time. What I really loved about this movie is that it gave nothing away – it trusted the audience to figure out what each character’s motives were and what they were thinking, a refreshing change from the regular, Hollywood movie of today – in fact another aspect which made the film so refreshing was that unlike other family dramas it was very unpredictable. Watching “Ordinary People” is a very inexplicable experience, not relying on anything but truth to get its message and entertainment across – its almost like looking into a mirror… bravo to the writers and actors who depicted each character with such layers and candor, possibly paying more attention to detail then the creators of “The Sixth Sense” and other acclaimed mysteries. And not only that, but this movie leaves audiences with a new perspective and a lot to ponder.

This is Robert Redford’s directorial debut and by far his greatest. The winner of four Oscars, “Ordinary People”, is a classic that cannot be missed, proving once again that the average person is more interesting than a love triangle or action sequence! It is a breakthrough, flawless film that is true to reality, yet is well balanced with comedic relief, suspense and a little romance between Conrad and a girl from his high school. However, we view this relationship realistically and we feel the anxiousness and nervousness between the two without the glamour and lines that could only have been created by a screenwriter or James Bond. Although the movie may appear to be simple on it’s exterior, accompanied by only one instrumental piece, Pachelbel’s “Canon in D”, it has many heavy layers that are thrilling to explore. I feel this film, among other things, is about humanity; what regular people are capable of doing to others out of fear. This is a vital movie for every teenager and adult to see.