Lonely Place

I saw this film on a DVD screener and I was quite impressed. Being a film noir buff, Mr. Ackerman did an outstanding job in capturing the flavor of the noir look and feel. Seeing Kurtwood Smith is always a pleasure to watch and Mr. Ackerman's team of actors and actresses I found, retained the feel of the people trapped in predictaments that they have advertidly or inadvertidly created for themselves. Examples would be "Detour," "Double Indemnity" and "Laura." The well-written dialouge makes "Lonely Place" feel like your stepping back into time and yet, it could be a situation that could be an event that takes place on the front page of tomorrow's morning newspaper. An outstanding job. I look forward to his future work.

My brother and I just happened to catch Lonely Place at the Austin Film Festival, and I thought it was a well realized take on classic cinema of the past. I was looking for a different screening but happened upon Lonely Place during the opening credits. I thought the cast looked interesting, Tess Harper, Kurtwood Smith, and Thomas Arana, and the title sequence itself was exquisite. Having no knowledge of the picture, I just went along for the ride, and I was not disappointed.

Lonely Place plays out like some old 1940's potboiler, with a menacing farmhand worming his way between a husband and wife on an old dusty peach farm. By about halfway through the picture, I had figured out how it was going to end, only I was wrong, dead wrong.

This is the kind of movie they don't make any more, it's like an old film that was just dug up in some archive somewhere. My brother and I loved it.

I'm Tex Nickle and that's all I really have to say about Lonely Place.

There are so many things to admire about Kevin Ackerman's short feature Lonely Place that it's hard to know what to praise first. The meticulous beauty of its physical detail and visual realization are two obvious virtues. Indeed, as John Ottman's oceanic music swells beneath that rainfall of ripe peaches at the fade-in, one might describe Ackerman's filmic style as symphonically meticulous. The place is a farm north of Fresno, California, in 1949. Tess Harper is the mistress of the spread, an intense, frustrated housewife who attends to her duties with the unseeing steadiness of a sleepwalker. Kurtwood Smith is her cranky, neglectful husband -- a man who seems to have whittled his 'round-the-clock facial expression from the same wood he's used to make those tobacco pipes he's always either clenching in his teeth or emptying, with annoying precision, in spots his wife has just cleaned. Tomas Arana is the raggedy drifter who appears at this couple's peach tree like a Biblical figment. He seems more skeletal than flesh, and more silhouette than man. He oozes menace -- a quality that, to the wife's near-hysterical bewilderment, goes unnoticed by her husband as he hires this man to help with their peach harvest. What ensues is a demonic retelling of the Garden of Eden story, in which Eve finds herself alone with two serpents.

Because I count Kevin Ackerman as a close friend, I'm in a position to know the years of hard work he spent getting this film right -- and like many friends, I often worried that he was chasing a holy grail of perfection that would stay forever out of his reach. I needn't have worried. Whatever imperfections may be present in Lonely Place, excellence is achieved throughout -- even technical mastery, of a precocious kind. Ackerman's exquisite dissolves, which marry the roundness of peaches to that of full moons and the whorls of circular darkness which gape in the mouth of a man's pipe, are not simply there to show off his style, much as one might marvel -- they also underscore the interior transitions, the psychic puzzle-pieces gradually coming together in the mind of a woman being threatened by a violence that is welling as much from within herself as from the two wretched men in her life.

Lonely Place is a strikingly well-wrought first film, a feature in miniature. Ackerman succeeds precisely because he has been so steadfast in seeing its music, rhythms and visual bravura through to their optimal states of power, and narrative effect.

As a woman who has worked on 3 short films and 2 feature endeavors, I can safely state that working for Kevin Ackerman has refreshed my memory as to why I ever wanted to make movies in the first place. Assisting him at various times during post production, in setting up his company, seeing how he struggled on a day-to-day basis, always trying to make this little half hour film better...I have never met someone as committed as he was and is.

The film, LONELY PLACE, exists as a polished first short, evocative of a time and place, faithful to the Film Noir genre Kevin so loves (and has studied extensively), purposefully un-flashy and somehow extremely mature. I watched the films Kevin told me were influences on LONELY PLACE while he finished it this last year -- The Postman Always Rings Twice, Repulsion, all the Hitchcocks etc. -- and I respect his choice to make a small film about three people inhabiting one space, a farmhouse, but with a larger thematic issue at stake: What is at the core of Marriage if, in fact, there isn't Love? And what would you do if, after giving 20 years to a man, living and working hard for him, you found out that he didn't love or even respect you? LONELY PLACE tackles the difficult premise, weaves a web, has fun with what one woman might do in a bygone era, given just such knowledge of her partner...not an easy thing to do in a half hour!

LONELY PLACE will, undoubtedly, play well in festivals and Kevin's career will fluorish in the aftermath. Of this much I am certain. I sign off for the last time, the night before my return home overseas, thankful for my time here in the United States working with such talented artists like kevin and all the rest. See LONELY PLACE!

Director Kevin Ackerman seems to be channeling David Lean as he directs this delicious, atmospheric "Alfred Hitchcock Presents"-style short. Gorgeous visuals, lush romantic music, great atmosphere and constantly building tension in this outstanding thriller that packs a real emotional punch. Kudos to the stellar cast: Kurtwood Smith, Tess Harper and Tomas Arana.

Great tech credits: beautiful cinematography, excellent editing and sound work. John Ottman's score is a must-listen. Kevin Ackerman has delivered a film that stands both as a clever homage to the classic film noir, and also stands out as an excellent short film.