Northfork

Never having seen a Polish brothers movie, I approached this with no expectations.

Somewhere in Montana in 1952 (though everything suggests an earlier date and the cars, as usual, are too perfect looking), a plain is to be flooded by a dam and a team of men in black suits is sent out to coax the few recalcitrant remaining inhabitants to vacate the properties. Each pair of evacuators is supposed to be awarded one and a half acres of prime lakefront property if they can prove that 65 locations assigned to them have been vacated. One team is James Woods (as Walter O'Brian) and his son Willis (Mark Polish). They're also supposed to remove Wood's character's wife's coffin because graves are supposed to be dug up to prevent the coffins' floating up in the flooded land. Needless to say, this makes little literal sense: the references here are to the American frontier mentality, to imperialism, land grabbing, materialism, and impiety, which the Polish brothers are impressionistically dealing with throughout this strange and highly allegorical film.

Meanwhile Nick Nolte is Father Harlan, a deranged priest running a decrepit orphanage to which a fleeing couple return a small boy they adopted earlier (Duel Farnes, who is fine) because, they say, he was `defective,' being sick all along, and is now too sick to travel.

Much of what follows revolves around the boy and may constitute his dying delirium or fantasy that he is an angel. He meets Daryl Hannah (Flower Hercules) in a graveyard in a wig and Elizabethan costume and goes back with her to see her pals, Cup of Tea (Robin Sachs, also in Elizabethan drag), Happy (Anthony Edwards, with a bizarre complex of adjustable spectacles on), and Cod (Ben Foster, a wordless young man in a bejeweled cowboy hat), and begs them to take him away from this place with them – 1,000 miles away, he insists. They bargain over the distance: this may constitute the denial and bargaining of the dying person.

At its center the film cuts back and forth with lugubrious regularity between this scene, in which the boy tries to claim he has scars from where he used to have wigs and a halo (Cup of Tea is unconvinced, Hannah is weepily sympathetic, Happy is scientifically neutral, and Cod is mute) – and scenes focused either exclusively on the band of evacuators or, as the film progresses, on them in encounters, variously hostile, fearful, or unfriendly, between them and the stubborn or oblivious holdouts on the land. One team is shot at, their car nearly demolished. Woods and son deal with a man with two wives who's built an ark. They fail to convince all three to leave, and, having evidence of only 64 evacuations, receive no land document.

Nick Nolte all the while is seen trying to save the boy, whom at one point he offers to Kyle McLaughlin and wife (Mr. and Mrs. Hope: this begins to sound like Pilgrim's Progress), but they aren't allowed to view the boy up close, only through a window, so they leave empty-handed (Hope without Faith thus disappointed). Nolte, Father Harlan, also goes to a pharmacist and gets antibiotics which he injects in the boy; he bathes him, reads to him, etc., but all efforts fail and the boy dies, apparently. Meanwhile scenes of the boy with Daryl Hannah et al. continue. In the end they all fly away in a big plane just like the little one in the boy's lap. Cod is his co-pilot.

Much is made of a set of putative `angel's wings,' big snowy white bird's wings which inexplicably are carried around in a large suitcase and shown both to the man with two wives and to Hannah and company.

Though no doubt enormously puzzling and open to many interpretations, it must be said that compared to something like Alejandro Joderovsky's El Topo, which this inexplicably reminded me of, Northfork makes much coherent narrative sense. Somehow the apocalyptic mood and the presence of dubious priests, spectral landscapes, and semi-mythological characters also bring Cormac McCarthy to mind, but the movie lacks McCarthy's vivid regional character and colloquial down home talk.

What it all means is more than I can venture to say in any more detail here. The tedium of the pacing might be more unfortunate if it were not to some extent relieved by an omnipresent sense of humor and also by a loyal and able cast and a stunning cinematography that combines colorless dimness with exquisite clarity in ways that heighten the pervasive sense of the surreal.

There is no doubt at all that the Polish brothers are originals. If hip young people and art film cultists like this film as much as Roger Ebert (who inexplicably believes the loquacious and visually acute Happy to be both blind and mute), Northfork will be on some level a stunning success. To many it is likely to remain arid and incomprehensible . . .and not sexy and scary like David Lynch. But the vision is unique -- and not as incomprehensible as it may seem.

I enjoyed this film's surreal nature and mysteriousness of the characters. The cinematography is beautiful, and the film is well-cast. Although I usually do not like Nick Nolte and the roles he plays, he showed great depth in this film.

Viewers who are unaccustomed to abstract film-making will find the plot disturbingly confusing, but I thought the transcendent themes overode the ambiguuities. If you absolutely HAVE to "understand" the film, just listen to the director's comments on the DVD. Doing this, however, diminishes the abstract beauty of the film--the way an art expert can ruin the experience of a fascinating painting in a museum.

By an odd coincidence, I had toured the locale for this film only a few months before purchasing it, and I thought the director captured the awesome yet austere nature of western Montana well.

The film is worth seeing just for the scenery and cinematography alone, and it offers many interesting topics for sociological discussions. I have already recommended it to number of my friends who appreciate esoteric films.

It's a shame this movie is rated PG 13--it is really quite suitable for anyone--though young kids might not follow it too well.

It belongs to that wonderful genre of serio-comic ghost/angel stories that would have to include everything from Capra's "It's A Wonderful Life" to Wenders's "Wings of Desire."

The photography is stunning, the acting first rate, and--wonder of wonders--the tone is uplifting.

My only criticism is that there is not much ambiguity in the film. The two interwoven stories seem intriguingly mysterious at first; but they resolve themselves a little too nicely for my taste. As the director points out in his commentary on the DVD, all the ingredients of Irwin's story are on his bedside table. The symbolism is just a trifle too pat for me.

But what a lark! My favorite scene has to be when the relocation team tries to get breakfast at a diner. This is practically theatrical in its magic--a tour de force of witty acting--subtle, playful, and positively rhythmic--coupled with striking cinematography and an acute eye for the grotesque.

"Northfork" is funny, touching, gorgeous to look at, magical (with the above reservations) and has not one single car-chase.

An easy nine stars.

Northfork is not an inscrutable mess. Whether you wish to view the more fanciful scenes as literal or the product of a dying boy's imagination, one strong theme connects all the stories. Change happens. Each sub-story revolves around a profound change. The little boy is dying. The town is being evacuated. The movie illustrates how we get dragged along by changes we are powerless to stop. We should ideally make the best of them and accept whatever heartache they cause. Some look forward towards a new freedom (the little boy) and some obstinately refuse to accept them (the ark family). And Walter has to learn the lesson that there are some changes we think are over and done with that must be relived (reburying his wife). Just because we think we've buried a chapter in life under the ground doesn't make it so. This is shown so clearly by the conversations between Walter and his son Willis. I say that if you really want to know what the movie is about watch the scene that begins in the outhouse. And pay special attention to the Willis's speech about caring for his car. Its a beautiful movie that gains meaning for me every time I watch it.

this is a very special movie, driven by imagery and character rather than by linear action or even plot. Things progress along two lines which eventually converge, that of the dying child cared for by the Father, and the evacuation of the valley. The child, delirious, is pulled back and forth between two realms, while the Father waits upon his dying. Nick Nolte plays this part with enormous sensitivity and restraint. The evacuation teams seem to suggest a parallel to the Biblical flood, and eventually the two lines of action merge into a dream state, as if the flood is waiting for the child, as well. James Woods gives a deceptively simple, finely nuanced performance, providing emotional depth and focus to the story line. The question seems to be, is the flood the waters of life, or the waters of death? Or is it both at the same time? The writers seem to feel that in the final analysis, there is no difference between the two. Rather than leaving one disheartened, this film uplifts.