The Graves family’s military resume is staggering, dating all the way back to the Civil War. Returning Corporal Jeffrey Graves (David Roberts) is adding to those accolades with his participation in the Gulf War. His homecoming is but a brief celebration, as what comes after is his disgruntled father Errol (Gregory Holtz), debating whether the Graves lineage has given enough for their great nation. And what more Jeffrey could give if he was given the chance. Jingoism, patriotism, call it what you will, but Lindley Farley’s short film has more than its fair share to say about legacy and service.
We open with Jeffrey’s arrival. His mother Sara (Margaret Holtz) has prepared a feast, from pork chops to steaks, in celebration of her son. Jeffrey politely mentions that times have changed and that he “eats healthier now, with more fish and definitely vegetables.” The conversation then takes a sharp turn, as the young man is then rather bluntly asked when he will be sharing his “experiences” with his parents, all while the three of them are standing awkwardly in the Graves front lawn. This early interaction speaks to not only Jeffrey’s newfound discipline in every aspect of his life but also to how on the nose Farley’s writing and directing is in certain instances.
Errol especially will often break into drawn-out monologues, without any space for subtlety. This family has deep ties to the American military, so this kind of direct talk is expected, but it can sometimes sacrifice subtext. Few things are left up to the viewer to decipher, and this approach carries over into the film’s editing and blocking. Scenes start and end almost on cue, fading into cross-dissolves while the lighting constantly shifts from varying degrees of exposure. The audio can also at times feel out of place. All that’s to say, The Family Graves is rough around the edges, both in the technical department and in its storytelling.
However, let none of that distract from the fact that what Farley is trying to convey is a crucial message about families (specifically Black families) and their position of power in the military system. Errol wishes for his son to fulfill his potential and become a leader, rather than job hunt as a low-ranking corporal. Earnestness is where The Family Graves excels, and the powerful words exchanged between Errol and Sara are the short’s highlight. Farley builds the scene up exceptionally well and even spotlights a different part of the Graves’ household, introducing a charismatic Thaddeus Daniels as Jeffrey’s brother Saleem. It’s a candid moment where Farley drops all manner of heavy-handedness in favor of something more profound. It’s these smaller details that make the film engaging and push it just beyond the sum of its parts. Go beyond some of the stilted dialogue and odd camerawork, and you’ll definitely wind up sympathizing with, or at the very least, understanding the entire Graves household.
A frequently potent take on patriotism and its more extreme varieties, The Family Graves is a thought-provoking, if at times uneven, short film from writer/director Lindley Farley.
