Manglehorn

I had the chance to see this at the Toronto International Film Festival in early September and came away disappointed.

The movie is founded on a great premise and I was eager to see where it went. Playing a brooding, lonely old man obsessed with a past relationship seems like a good fit for the veteran Pacino. A sole proprietor key cutter was the perfect choice of profession for such a character. Giving Pacino full screen time was a good choice, as I can't recall a scene that didn't feature Pacino.

However, inconsistency in the Manglehorn character seems to overwhelm a good acting performance. Manglehorn seems at times senile or rude, and at other times the clever, likable character with good advice. It doesn't help that a good explanation for his obsession with a past relationship is lacking.

There are some solid random scenes and conversations, including Manglehorn's discussion with a child or the entertaining Korine telling stories of little league. These worthwhile scenes are surrounded by just as many scenes that fall flat and make you lose interest. Too often scenes are present as filler or make you feel like a better climax is due. Manglehorn's interactions with his son, played well by Chris Messina, feel like they belong in a different story arc.

I believe that Green has the ability to make a great, subtle film if it all comes together. In Manglehorn, the script Pacino is given and the characters he is surrounded with take him no where in particular, which is fine if you are entertained or enlightened throughout the film's duration. That's not the case here. Though the foundation was there, the payoff isn't worth the attention paid.

Manglehorn is in essence a small simple story. No CG-I, no huge twists or plot points but rather a amazingly woven story of a lonely man attempting to overcome the loss of his old love. Al Pacino plays a role very different from the norm, hes a sarcastic, sad and sometimes bitter old man who spends his days either alone at his locksmith or mourning over a love that "could have been". Without spoiling anything, Manglehorn our main character slowly learns to love life again with the help of a friend. David Gorden Green does an incredible job at making this simple story pop by making many almost surreal like scenes (Most notably the watermelon scene). There are even scenes that are downright poetic (Scenes sometimes play out as Manglehorn recites a poem in the back, this is better than it may sound). As the story progresses it get quite deep, going into interesting back-stories about Manglehorns family (Mostly about the father and son relationship) and even at times very magical elements are hinted at.

I was lucky enough to see Manglehorn at TIFF this past September. If you get the chance this is a film that needs to be seen.

Greetings again from the darkness. For those of us who grew up with 1970's cinema, it's been painful to watch Al Pacino's career over the last two decades … with only a couple of exceptions. We have longed for the actor who became Michael Corleone, and cringed with each outing that seemed to parody his Oscar winning performance in A Scent of a Woman (1983). Along comes the latest from director David Gordon Green and with it a reappearance of that actor so worshipped by John Travolta's character in Saturday Night Fever.

A.J. Manglehorn is an elderly locksmith who lives each day under his self-designed cloud of despair. His droopy eyes, droopy shoulders and droopy social skills are eclipsed only by his love for Fanny the cat, and his daily letters to Clara – the long lost love of his life. The only other signs of life in Mr. Manglehorn are displayed when he is telling a customer that it's time to wash their car, when he is hanging out with his granddaughter, or when he is exchanging Friday flirtations with bank teller Dawn (a sparkling Holly Hunter).

Director David Gordon Green is best known for comedies such as Pineapple Express (2008), The Sitter (2011), and TV's "Eastbound & Down", and while this one (filmed in Austin, Texas) has some awkward and offbeat comedic moments, it would have to be categorized as a drama. Symbolism is everywhere as Manglehorn keeps his emotions "locked" away from his snooty yuppie son (Chris Messina) and retreats into his imaginary relationship with Clara, rather than embracing Dawn's brave come-on.

There are a couple of extraordinary scenes … Pacino and Messina talking around, rather than about, their relationship and the type of men they are; and the excruciatingly awkward and heart-breaking first date between Pacino and Hunter. The forlorn Manglehorn remains behind the locked door and allows the shadow of his dream girl to cast a pall, despite having a real life dream girl sitting across the table.

Pacino recaptures his mastery of the close-up. Such emotion from so little apparent movement is the work of a once great master who proves he still has it. Some may be put off by the lack of big action, but these are people living life and trying to make the best of it. There is a line from the movie, "When you choose this life, there is no one". It's a line that tells us so much about Manglehorn's daily approach. Whether he finds the right key matters to us for one reason … Pacino makes us care.

David Gordon Green gave us 'Pineapple Express' but he also graced us with 'Prince Avalanche' and let's not forget he got Cage back to his best in 'Joe'. So can he do the same for Al Pacino, in a role specifically written for him, well yes and no. For anyone who has winced at Pacino's career of late I will say that this is one of his better roles but he essentially playing himself, a locksmith called Manglehorn who can't escape his past which won't allow him to live in the present. He spends his days with keys and his night with his cat Fanny and a whole heap of unhealthy memories. Friday he religiously goes to the bank where he meets Dawn (played brilliantly by Holly Hunter)and they start a strange friendship but will it be enough to pull Manglehorn into the now? The story is simple enough and has some truly great moments but there are also a few weird dream sequences that I'm not sure worked as well as they could. The cinematography is great and along with the soundtrack, acting and direction the story of Manglehorn is watchable if not a little long and quite slow paced. Expect a few laughs but it's really a more sombre affair about ageing, memories and living and one that will make you think about life, love and mortality. So 'Pineapple Express' it isn't you have been warned.

Eccentric Indie Director Green along with two Superb Actors, Al Pacino and Holly Hunter, deliver an almost Lost Art, the Character Study. Left to Low-Budget experimenters and Performers looking for an outlet Out of the Mainstream, this type of Film is becoming "Film Festival Fodder" and that is where the Genre finds the most Sympathetic Audience.

Not Multiplex favorites and Mainstream Appeal is Lacking, it is this type that Rely on Reality and have been called "Slice of Life". The Film is filled with Offbeat Imagery and Dialog that seems Flat at First but Resonates nonetheless. Witness Manglehorn's Story about a Nun and some Children on a boat to explain His Atheism.

Holly Hunter is simply Stellar in what amounts to a Supporting Role and Her Emotion is Heartbreaking and very Real. Two other People in Manglehorn's Life are included as Representative of why Pacino says in a half-hearted Throwaway Throwback Touchtone..."The World is Yours" (meaning I want nothing to do with it)...is His Son and a former Kid He coached in Little League.

Both are Obnoxious and Manglehorn finds Them Barely Tolerable and Symbolic of People in General. That may be why when Holly Hunter says on Their First Date..."I'm a people person...I love life", Pacino Snaps and regresses to a Senior Moment of Disconnect.

Overall, a Film for Refined Taste and Fans of Reality based Cinema with an Artistic Flare. Pacino and Hunter give Noteworthy Performances and the Movie is Rich with flavor.