Sherwood Anderson’s 1919 novel, Winesburg, Ohio, is one of 20th century American literature’s finest moments. Through a series of 22 vignettes, the book follows the fractured lives that inhabit a small, fictional burg, particularly a young man as he grows into adulthood and his interactions with his family. The work is madly influential, having inspired writers as diverse as Ray Bradbury, Henry Miller, and H.P. Lovecraft (who crafted one of his demented shorts in opposing reaction).

Winesburg, Ohio has long been in the crosshairs of the entertainment world. A made-for-TV version starring Joseph and Timothy Bottoms hit airwaves in 1973, and an eponymous musical version earned lauds and a Barrymore Award for Outstanding Musical in 2006.

Nevertheless, the work is a challenge to adapt with its unique narrative structure that morphs in complexity as its main protagonist ages. Chicago Heights, a new film opening Friday at the Gene Siskel Film Center for a week-long run, throws its hat into the adaptation ring, regardless, with interesting results.

Director Daniel Nearing moves Anderson’s stories from Ohio to the film’s namesake, a city situated thirty miles or so southwest of downtown Chicago. Though a far cry from rural Winesburg, Chicago Heights is an inspired location. Influenced by a rustic, small town vibe and a proximity to urbanity, the new locale feels both traditional and modern, much like Anderson’s work.

Change ripples into the players, as well, with mostly African American characters replacing Winesburg, Ohio’s white populace.

The film begins as Anderson’s does, with an aged writer lying alone in his bed reflecting upon his life in a family of “grotesques.” The reference runs throughout, signifying a distortion of truth. These distortions unfold in intertwining sequences that snake through and around the Walker family — a stern father, a terminally ill mother, and a teen with aspirations of becoming a writer — as well as their local pastor, a young college instructor who serves as both inspiration and temptation, boarders who inhabit the Walker home, and more.

They are stories of loneliness, confusion, complacency, lust, and regret, but also of faith and perseverance. Collectively, they’re a fitting metaphor for a particular American experience: one where existential fears reveal cracks in the dream.

Chicago Heights presents these stories in an experimental manner, eschewing a straight linear narrative in favor of weighty bursts that emphasize emotional pull. It’s a bold approximation of the literary using cinematic language. Unfortunately, it’s at the expense of the plot. Chicago Heights’ modus operandi confuses the story far too often, but when the groove locks, the film is gold.

Luckily, the cinematography nulls any narrative deficiencies. The crisp black and white photography (with brief flashes of vivid color) and compositions are absolutely stunning, revealing true beauty within Chicago Heights’ rough, rugged edges.

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By Margaret Burton from Calumet City
Posted: 12/12/2010 9:48 AM

Mr. Morehart, while your critique is good you’ve failed to mention that, in an astonishingly Morgan Freeman type of narrative, American Veteran, Benny Stewart pulls off an amazing narrative of thought provoking wisdom and sensibility. The whiskeyed voice of wisdom and experience has catapulted Chicago Heights to a position of critical acclaimed with depth and warmth, while being truthful and honest to its rendition and authenticity of the classic compilations of short stories by Sherwood Anderson’s, “Winesburg Ohio’. Benny Stewart is someone worthy of watching; his sincere dedication to authenticity has provided the glue that holds the award winning and critically acclaimed Chicago Heights together.

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By Anonymous from North Center
Posted: 12/09/2010 12:41 PM

The director talked about this film on NPR this morn. Phil is certainly in the know about what's up in the city.