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  • 'Real Life' Softie

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    Pieces of April  (2003)

    Dan in Real Life  (2007)

    Every year I walk into a movie theater at least thirty times and the number of films viewed increases a lot if you include DVDs. Each time a new feature unspools, I am hoping to be swept away, emotionally engaged or otherwise exhilarated. If I'm lucky, one or two films a year will connect with me on such a deep level that I feel completely connected to the people who made it. These experiences are what keep the whole process in motion.

    At first, I had been generally uninterested in seeing 'Dan in Real Life.' It's not Steve Carell's fault... or wait, maybe it is, since he chose to make 'Evan Almighty.' No, I'll forgive him that one since 'The 40 Year-Old Virgin' was so great. But what a stupid poster for 'Dan in Real Life' - Steve's head on pancakes. Huh? The trailer was not too inspiring, either. But eventually one factor changed the whole equation. Enter Peter Hedges.

    Hedges is definitely not a household name. He has only one pervious directorial credit and just four other writing credits. But what a selection it is. Hedges' first film was an adaptation of his novel, 'What's Eating Gilbert Grape.' That film, starring Johnny Depp, was a revelation to me in 1993. The story was mildly quirky, but extremely heartfelt and I identified with the character of Gilbert Grape. A decade later, Hedges finally directed a film of his own, 'Pieces of April,' also a quirky yet heartfelt story of family with knockout performances. Both movies rank among my all-time favorites. So when I heard this was the man behind 'Dan in Real Life,' I knew I had to see it. It took a few weeks, but I finally made the time this past weekend.

    The previously mentioned Steve Carell stars as Dan, a widower with three daughters. He gives advice to others through a local newspaper column, but he is himself struggling to be the best father he can as his daughters begin to assert their independence. The story takes Dan and the kids to Rhode Island for a family gathering. The next morning, Dan heads to a local bookstore to pick up a newspaper and ends up hitting it off with a customer named Marie (Juliette Binoche). Dan's elation about this happenstance is short lived when he discovers Marie is actually dating his brother, Mitch (Dane Cook). What exactly is Dan to do now?

    There are some things about 'Dan in Real Life' that don't quite work. There are some story elements that feel a bit too "scripted," and some moments are played a bit too broadly and feel distanced from the rest of the film. On the other hand, I connected so deeply with this film that it really stirred up the emotions.

    The theme that speaks to me so strongly here is the difficulty of balancing obligations with the hope of personal satisfaction. Like Gilbert Grape before him, Dan Burns is a man with deeply felt family obligations who becomes conflicted when his passions are stirred. Dan is a parent, Gilbert is a de facto father to his little brother. In Dan's case, the loss of his wife has made his job more of a burden. In Gilbert's case, the withdrawal of his mother from her role has created his burden. Both characters are cut off from the partner that should reciprocate and assist to make the burdens more bearable. Both characters struggle to be committed, focused providers. But the acceptance of responsibility cannot erase the yearning that everyone feels to have something of their own, a passion and desire beyond the normal routine. To be accepted and have your feelings validated by another.

    In Dan's case, his obligations are further tested by having the object of his passion turn up as his brother's new girlfriend. I could personally sense that conflict - to acknowledge your deepest desires would hurt your dearest loved ones, so the feelings must remain hidden. As many of us know, however, that's easier said than done. Many scenes in 'Dan in Real Life' amp up the tension of this scenario, and they are presented more or less in a very casual, realistic tone. Hedges' characters are allowed to be as real as a movie can allow. Many scenes feel extremely natural and improvised, and this only makes the emotions stronger.

    Another thing that often helps seal the deal on a film for me is song choice. 'Dan in Real Life' features some fine songs by Sondre Lerche, including one extremely pleasant surprise, a cover of Elvis Costello's "Human Hands." My jaw literally dropped when I realized which song was playing (honest, you should have been there). Another musical highlight in the film is when Dane Cook and Steve Carell perform the Pete Townshend classic "Let My Love Open the Door." The scene where this performance takes place is so pregnant with emotion, I'm getting misty eyed just thinking about it (Yeah, I'm a softie that way). The scene is all the better because the guys do the song in a natural warts-and-all kind of way, not some typical Hollywood pre-recorded and pitch corrected fake-out.

    Peter Hedges work on 'Dan in Real Life' has maintained my confidence in his talents. I think it's a shame that this adorable film had to be marketed as more of a goofy comedy to attract audiences. As fans of TV's 'The Office' know, Carell is the king of awkward moments with the acting chops to back it up. What a joy it is to see such a likable performer as Carell making smart choices in film roles. I would love to see this team work together again.

     


  • Worth the Journey to This 'World'

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    The opening shot of 'O Caminho das Nuvens' ('The Middle of the World') just happens to be one of those modern, digitally manipulated ones, but don't let that fool you. At the heart of this film is a timeless father and son story, brought to life with smart writing, great performances and great pacing.

    Romão (Wagner Moura) is leading his family of seven through nearly 2,000 miles of Brazilian countryside on something of a holy quest. In order to feed his children, Romão needs a job with a salary of 1,000 reals, and he believes that his patron saint, Father Cícero, will provide. To keep his family along with him on the quest, they have all taken to the road on bicycles. As they travel, the family's matriarch, Rose (Cláudia Abreu) earns a bit of money singing the songs of Brazilian legend Roberto Carlos.

    Rather than using the bicycle trip as a novelty throughout, it is instead a catalyst for exploring the dynamics of a family. Romão is a traditional man, strong in his conviction that he must provide for the family as well as in his spiritual beliefs. The eldest son, Antônio (Ravi Ramos Lacerda), admires his father and seeks his approval, yet he is on the verge of manhood and yearns to assert himself. There is a more subtle conflict in play here, and that is between Romão and Rose, as the wife pushes the husband to get off the road and take a smaller job for the sake of the children. The character interactions and the stops along the trip are quite carefully structured to keep this story interesting, but there is no attempt to exaggerate events to be larger than life or symbolic. The screenplay by David França Mendes is succinct, smart and has a noticeable depth of feeling.

    Wagner Moura has a youthful look about him, but he is quite convincing as the head of a family with five children. He plays the entire range here - playful and charming, angry and frustrated, determined, disillusioned - never once hitting a false note. As the son, Ravi Ramos Lacerda may come off a bit green, but unlike Hollywood films where the kids more often than not are hyperarticulate, this film can use it. Antônio's story is the backbone of this film. The boy tests his bounds, questions his father's decisions and pushes toward independence, and the struggle is entirely self-contained in a 90 minute film. We can understand Antônio's longing quite well - though we see that his family is loving and close, the siren song of the great big world is unmistakable.

    There is an earthy, natural look to 'The Middle of the World.' There is grain in the film, and nobody shies away from allowing shadows and darkness in the frame, but a deeper look reveals a level of accomplishment. There are some stylized shots, but the director and his cinematographer know when to utilize them, and they never conflict with the emotional core of the film.

    Although enriched by cultural aspects of life in Brazil, 'The Middle of the World' has a very universal family story at its' core. The story is what elevates it to not just a great foreign film, but a film that should be seen around the world. It's a pity it didn't get seen widely around the United States. I would certainly have loved to experience this with an audience and with a larger-than-life image that would bring me even deeper into the lives of this family.

     


 

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