Committed

COMMITTED (2000) **1/2 Heather Graham, Casey Affleck, Luke Wilson, Goran Visnjic,Patricia Velasquez, Summer Phoenix, Clea Duvall, Kim Dickens, Alfonso Arau, Mary Kay Place.

They say marriage is an institution and to paraphrase the retort to that one-liner, `And I'm much too young for an institution' (BA DUM DUM!) In filmmaker Lisa Krueger's sophomore effort she proves you don't have to be crazy to be married but it helps.

Joline (the fetching Graham) is a concert promoter for a small venue in New York City whose 2 year marriage to budding photojournalist Carl (Wilson, in another variation of his corn-pone dudes) is facing a `crisis of faith' when Carl inexplicably deserts her while traveling on business leaving her to come to terms even when she throws a birthday party for him (`it's been 8 months since his last one' she states matter-of-factly) inviting all their good friends and her brother Jay (Affleck) who tries to help her with a postcard from Carl indicating he's more or less out west trying to get his thing together. Taking this as a cue to get her man back and salvage their relationship she rents a car and embarks to the desert landscapes of America enduring many hardships (including a drive by robbery attempt while fixing a flat tire with humorous results) and inspired sleuthing (she literally holds up the postcard with it's visage of a cactus trying to hone in exactly where Carl sent it from!)

By a fluke of good luck Joline discovers her estranged spouse working in El Paso for the local paper but learns his dream of being a passionate artist has gone unexplored since he's still shooting stills of food. Pacing herself (and fooling herself in the process) to wait for the right moment to spring herself upon him she follows him back to his dusty new dwelling on a border town existence and sits in her car waiting in the heat.

Along for the wait is Carl's next-door-neighbor, Neil, a hunky outspoken artist (played by `ER's resident sex symbol Visnjic) who immediately hits upon his newly found friend and possible sexual conquest. In no uncertain terms he sits next to her car in a fold out chair, sipping from a thermos and speaking his thoughts to her; specifically what he'd like to do with her. Joline doesn't seem entirely fazed by this but doesn't dissuade his charm. What works in this deceptively clever screwball comedy is the wide-eyed intensity of Graham, the latest independent film queen, who just seems to get bigger and better (she was a riot in last year's hysterical Steve Martin/Eddie Murphy Hollywood sendup `Bowfinger') whose determination to do anything to keep her marriage intact despite all odds against her is something of a small marvel in witnessing someone slowly sink into desperation and borderline madness for the one they love.

Krueger, whose `Manny & Lo' from several years ago was the darling of The Sundance Film Festival, has some of Jonathan Demme's panache in depicting everyday characters in unlikely situations with the air of menace about them but allowing them to remiain intact even if it seems bleak.

Also noteworthy are sexy newcomer Velasquez as Carmen, Carl's would-be new girlfiend, a Mexican waitress who fast becomes Joline's good friend, suggests a silkier version of Sandra Bullock, and director Arau (`Like Water For Chocolate') - making a rare acting appearance - as Carmen's mystical grandfather who guides the addled Joline not unlike a Zen Ben Obi-Wan Kenobi via a ritualistic guideline of luring her man back. And I especially liked one of the sexiest scenes I've seen in years when Visnjic tells Graham to close her eyes and unbeknownst to her lets his hand travel hover across the countours of her sexy outline while Glenn Campbell's classic `The Wichita Lineman' plays quietly from her blistering car; magical.

The only problem with the film is there aren't that many gut-busting scenes but then again this isn't exactly supposed to be `The Naked Gun'. It only falters near its end when Joline finds herself literally the title of the film. Until then it's a nicely paced journey of self-discovery in realizing that what doesn't kill you only makes you stronger.

Some people drift through life, moving from one thing or one person to the next without batting an eye; others latch on to a cause, another person or a principle and remain adamant, committed to whatever it is-- and figuratively or literally they give their word and stand by it. But we're all different, `Made of different clay,' as one of the characters in this film puts it, which is what makes life so interesting. Some people are just plain crazy, though-- and maybe that's the way you have to be to live among the masses. Who knows? Who knows what it takes to make things-- life-- work? Writer/director Lisa Krueger takes a shot at it, using a light approach to examine that thin line between being committed-- and how one `gets' committed-- and obsession, in `Committed,' starring Heather Graham as a young woman who is adamant, committed, obsessive and maybe just a little bit crazy, too. Her name is Joline, and this is her story.

Admittedly, Joline has always been a committed person; in work, relationships, in life in general. She's a woman of her word who sticks by it no matter what. And when she marries Carl (Luke Wilson), it's forever. The only problem is, someone forgot to tell Carl-- and 597 days into the marriage, he's gone; off to `find' himself and figure it all out. When Joline realizes he's not coming back, she refuses to give up on him, or their marriage. Maybe it's because of that `clay' she's made of. Regardless, she leaves their home in New York City and sets off to find him, which she does-- in El Paso, Texas, of all places. But once she knows where he is, she keeps her distance, giving him his `space' and not even letting him know she's there. She considers Carl as being in a `spiritual coma,' and it's her job to keep a `spiritual vigil' over him until he comes to his senses. And while she watches and waits, her life is anything but dull, as she encounters a young woman named Carmen (Patricia Velazquez), a waitress at one of the local eateries; Carmen's `Grampy,' (Alfonso Arau), who is something of a mystic; T-Bo (Mark Ruffalo), a truck driver who has issues concerning Carl; and Neil (Goran Visnjic) an artist who makes pinatas and takes a fancy to her. For Joline, it's a journey of discovery, during which she learns a lot about Carl, but even more about herself.

There's a touch of humor, a touch of romance, and some insights into human nature in this quirky film that is more about characterization and character than plot. And Krueger presents it all extremely well, delivering a film that is engaging and entertaining. Her characters are very real people, with all the wants, needs and imperfections that make up the human condition; a rich and eclectic bunch through which she tells her story. We see it from Joline's point-of-view, as Krueger makes us privy to Joline's thoughts and therefore her motivations, which puts a decided perspective on the events as they unfold. That, along with the deliberate pace she sets that allows you to soak up the atmosphere and the ambiance she creates, makes for a very effective piece of storytelling. There's an underlying seriousness to this subject matter, but Krueger chooses to avoid anything heavy-handed or too deep and concentrates instead on the natural humor that evolves from the people and situations that Joline encounters. And the result is a well textured, affecting and upbeat look at that thing we call life.

Heather Graham takes hold of this role from the first frame of the film to make Joline a character totally of her own creation. She immerses herself in the part and gives a performance that is convincing and believable, adding the little personal traits and nuance that makes all the difference between a portrayal that is a mere representation of a person, and one that is real. And for this film to work, it was imperative that Joline be viable and believable-- and Graham succeeds on all fronts. Her screen presence has never been more alluring, and her vibrant personality or even just the way she uses her eyes, is enough to draw you in entirely. it's all a part of the character she creates; there's an appeal to Joline that exudes from her entire countenance, who she is inside and out. She's a likable, agreeable person, and because you've shared her innermost thoughts, you know who she is. It's a good job all the way around, beginning with the way the character was written, to the way Graham brings her so vibrantly to life.

As Carmen, Patricia Velazquez is totally engaging, as well. Her performance is very natural and straightforward, and she uses her instincts to effectively create her character. She has a charismatic presence, but is less than flamboyant, and it gives her an aspect that is attractively down-to-earth. She is refreshingly open and up-front; you get the impression that Carmen is not one to hold anything back, but is totally honest on all fronts, and that, too, is part of her appeal. And, as with Joline, this character is well written, and Velazquez brings her convincingly to life.

Overall, there is a number of notable performances that are the heart and soul of this film, including those of Luke Wilson, Casey Affleck (as Joline's brother, Jay), Goran Visnjic, Alfonso Arau and especially Mark Ruffalo as T-Bo, who, with very little actual screen time, manages to create a memorable character.

The supporting cast includes Kim Dickens (Jenny), Clea Du Vall (Mimi), Summer Phoenix (Meg), Art Alexakis (New York Car Thief), Dylan Baker (Carl's Editor), and Mary Kay Place (Psychiatrist). A film that says something about the value of stepping back to consider The Big Picture-- reflecting upon who we are, where we're going and what we really need-- `Committed' is an enjoyable experience; a ride definitely worth taking. 8/10.

I saw this film and liked it a lot. There's some great fodder for discussion here, about women and men, some offbeat angles that are cool that don't get discussed much. Heather Graham shines in a part that seems pretty much written for her - it's cool to see her in these parts. I liked her in Bowfinger, but I liked her more in this film. I hope she does some more films like this in the future. The supporting cast is nothing less than awesome, including Luke Wilson in another of his puppy-dog roles and Goran Visnjic as this mellow dude. I really liked the woman who plays Luke Wilson's girlfriend, even though I can't remember her name. Lisa Krueger's other film, Manny and Lo was pretty good too, and this is a nice follow-up effort. I hope she gets to do more stuff soon, I like her a lot.

I get the feeling that Lisa Krueger is easy to overlook. I personally found her first film, 1996's Manny and Lo, to be a wonderfully detailed character study and the performances were uniformly wonderful(with special credit to Mary Kay Place). The film played for a week or two in major urban centers and vanished. One or two critics really liked it, but many viewed it as slight. Krueger's second film, Committed, was released this year (2000) (after nearly two years of delays) and it similarly vanished. And once again critics dismissed the film as slight and pushed the film aside, at most praising Heather Graham's screen presence, but rarely her acting ability. And once again, for me, Committed is a solid success. I feel as if Krueger has a genuine voice and a personal visual style and these are traits that shouldn't be so easily ignored, simply because she works on a very restrained canvass.

The title has several meanings, but mostly it refers to Joline (Graham)'s refusal to let her husband Carl (Luke Wilson) flake out and leave her. She follows him from New York to El Paso and becomes one of the most appealing stalkers in recent cinematic history. Her respect for her marriage vows leads her to Mexican mysticism and self-discovery. And yep, the plot is just that simple and thus, just that easy to ignore.

Joline, of course, is the crying voice of a generation whose parents divorced at a rate nearing fifty percent. And for me, her personal revolution against broken promises and a legacy of deceit is fairly intelligent and powerful. Confident in the belief that people just don't have enough faith in each other, Joline inevitably has to discover that her beliefs aren't in synche with those of society at large. Several comments her have referred to her character as one-dimensional and I'm afraid that that's a simplistic reading of the film. Or perhaps even a misreading. If Joline were just an innocent, she wouldn't be interesting at all. It's the fact that she understands the world and refuses to play by the rules of the "normals" that makes her so interesting. Sociologically, she's a complete deviant.

Krueger sometimes falls into moments of cutesy dialogue and her direction of this film has a rather odd over-reliance on shots of clouds moving across the El Paso skyline. However, her mistakes are fairly rare and in this film, as in Manny and Lo, it's the performances that carry the day. Graham has never been better because she's never had a character as perfectly tailored to her as Joline. For the first time in her career, Graham seems comfortable playing an adult, even one in slightly arrested development. She carries the film perfectly. Luke Wilson and Casey Affleck (as Joline's brother) both have a number of fine moments, as do Alfonso Arau, as a Mexican Mystic and Mark Ruffalo and T-Bo, the slightly psychotic truck driver. As in Manny and Lo, the characters are part of their environments, well detailed totally organic creations. These characters may sometimes seem pointlessly quirky, but they make sense in their context. Even Goran Visnjic, as an artist turned on by Joline's devotion, fits in in some strange way, even though his character's foreigness is never discussed.

For me, this is a movie that gains depth looking back. Another commenter here spoke of the stereotypical Mexican portrayals. And again I'm tempted to call that a misreading. Joline is looking for self-justification. She knows that her commitment is out of control, but she's looking for any spiritual avenue that can help her make sense of herself. Arau's character understands that most people don't believe in him and he plays up his own faith when he sees a woman who respects him.

I guess I can understand how this movie could be viewed as underwhelming, I'd simply disagree. It's consistently funny, frequently hilarious, and all of the characters exude a warmth which is quite wonderful.

I'm giving this one a 7.5/10 and when I log in the vote here, that'll go up to an 8.

people seem to not like this movie, but I myself rather enjoyed it. I liked the way it delved into her ability to have faith in everyone, and it's lighthearted look into what faith is and when does it go too far. maybe it wasn't very deep, but it was enjoyable to watch, enough so that I've seen it a couple times in the last year, and recommended it to friends. sometimes I think there are a lot of people out there who don't like movies that take their time and look at anything other than straight ahead romance or straight ahead action. this isn't really a romantic film. it's more of a character study. don't get too carried with the borderline new age spirituality, but enjoy it for what it is, an interesting view of one person's life that doesn't take itself too seriously.