In Ricky D’Ambrose’s new coming-of-age drama, “The Cathedral,” “childhood is tragedy shrouded in mystery, and adulthood is tragedy tied to powers outside one’s control,” tnyfrontrow writes.
D’Ambrose’s films are works of fiction that combine live-action drama and voice-over narration, accompanied by actual archival clips and faux documents . His idea is to inscribe his dramas in history—to unfold the connections between his characters and their times, to reveal the inseparability of private lives from public events, of personal concerns from political ones.
Jesse is played, at different ages, by four different actors , and his presence, from early childhood to his first year of college, is an oddly contemplative one. He’s not seen spending much time on playdates, sports, or neighborhood rambles, but D’Ambrose never suggests that Jesse is isolated, friendless, or passive, either.
Much of the story has to do with money. There is the mystery of a loan that Jesse’s father, Richard , gets from a friend and its long reach through Jesse’s life. There is Richard’s resentment toward the wealth of Jesse’s maternal grandparents as he struggles to sustain his printing business, which eventually goes bust. And there is Jesse’s growing awareness of the fundamental power of that wealth, even as a spark of violence.
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