Tully

Was it great acting or great directing or a great script that made this film work so well? The people in the movie Tully are not one dimensional, they are real people. I loved all of them. The way the father pursed his lips.

The way Tully sometimes looked handsome, sometimes plain. The way Ella gave just the right thing at the right time. The way the clerk cheerfully bantered. The way Earl corrected Tully's misremembering. The town sleaze's greasy humor. I wish I knew any of them, even April! :) The main thing that struck me about Tully is the trueness of the dialog. It was minimal, the way people really are, shown from the outside in, without being corny. Everyone gave great performances. The movie is special. Hope I see more of every actor in this film, all of whom were new to me. All were MEMORABLE. That says a lot because I think I have early Alzheimers! Too bad this movie wasn't a hit. I wish I lived on a farm and/or had this kind of sensitive, nuanced experience everyday! Unpretentious.

TULLY (2002) **** Anson Mount, Julianne Nicholson, Glenn Fitzgerald, Catherine Kellner, Bob Borrus, Natalie Canerday, John Diehl, V. Craig Hedenreich. Novice filmmaker Hilary Birmingham (who co-wrote the screenplay with Matt Drake, adapting a short story by Tom McNeal) beautifully captures the visage of rural small-town America(na) in contemporary tones in this wonderfully modulated tale about a middle-aged farmer (Borrus, a truly amazing low-key yet ultimately heartbreaking performance as a man who has sacrificed so much and tenuously hanging onto what is his own: his land and family) and his two sons (Mount as the titular protagonist and Fitzgerald are equally poignant and excellent) who face a moment from their past that clearly will alter their precarious futures. Nicholson (sporting cinema's sexiest freckles) as the family's friend is sublimely perfect as a veterinarian school student who returns to town arousing the boys' one more time. Gorgeously shot by John Foster and a gentle, pensive score by Marcelo Zarvos elevates this true sleeper gem as one of the year's very best.

"Tully" is a gem of a movie! It's the first film I've seen since the beginning of August that I've put on my "Best of 2002" list. Evidently this debut feature has apparently been sitting on a shelf for two years, probably looking for distribution.

Based on a short story, it takes a simple family story and tells it beautifully visually, economically but leisurely, while avoiding cliches. It is the best evocation of small town life since "Last Picture Show," but this is much more rural. The laconic farmer family is the best portrayed since "Straight Story," but that was propelled as a road movie, not what taciturn life on the farm is like, which poses a challenge in a communicative medium.

We see the most charming and complicated relationship between two brothers since another little movie "Smiling Fish and Goats on Fire." Surprisingly, it doesn't take the simple road of competition between the titular womanizing "bad brother" and the younger, loyal "good brother". Instead, Tully (Anson Mount is quite a hunk!) is a direct descendant of the tortured, conflicted James Dean of "East of Eden" and "Giant" (including the Oedipal conflicts there), struggling in a macho environment with his impact on women, his feelings, and his responsibilities.

With completely character appropriate dialogue and body language we watch the impact of old love and falling in love on a father and son who have no words and only gradual understanding. You can't know you're heartbroken until you know you have a heart. The women can have this impact on them because they too are not cliches; they have specific personalities, needs, and even jobs. Julianne Nicholson is very credible and expressive.

Several old men in my audience yawned loudly, so maybe this is a chick flick, but I was involved and moved by the unfolding of realizations in their past and present family and romantic relationships and how Tully comes to grips with them all, like a long, silent, overhead shot of him waking up in an empty bed that manages to communicate so much loneliness and longing.

John Foster's cinematography is simply gorgeous.

The mise en scene is common in country songs, so we're lucky that the director probably couldn't afford commercial country artists on the soundtrack for the usual cliches. Instead we have Canadian alt country singers like Fred Eaglesmith and Oh Susanna (the only names I recognized), with some blues thrown in as well such that Tully even asks what radio station could that be, as they are all very sensitive to music, as it helps them all communicate with each other. And with us.

This film was like a breath of fresh air. It only played locally for a couple of weeks, if that much. Obviously, this film would have fared better had it gone to the Angelika or the Sunshine where a young crowd would have discovered it. I only caught it at the end of the run and I'm glad I did because not only it's a beautifully done, but because it's an honest account of life.

Director Hilary Birmnigham working with Matt Drake have created something rare in American cinema a well written drama with interesting and complex characters, a script that doesn't depend on special effects or the formula that most mainstream films.

The cast is superb. Anson Mount, Julianne Nicholoson, and Glenn Fitzgerald shine brightly in this film. Also Bob Burrus as the taciturn father is very effective.

I'm sure that by now it should be in DVD since it was done in 2000, you won't regret it.

A fine little family drama I had never heard of, but which I'm now completely glad that I've seen.

The title character of "Tully" is a young man struggling to come of age on the farm he works with his father and younger brother. Rebellious in spirit and darkly good looking, he's more socially and sexually experienced than his brother, and has a more contentious relationship with his dad. When a family secret surfaces, though, it becomes apparent that his bravado masks a great deal of insecurity, and proves that though he may be mature in some ways, he has a lot of maturing still to do in others.

"Tully" has a quiet, low-key quality to it that I very much liked. It has a feel for the natural rhythms of rural life and the people who inhabit it. Grand epiphanies, emotional showdowns and the other stuff of traditional family dramas are not present here; instead, turning points and realizations take place subtly and quietly. Many times it's the moments of silence that convey more than scenes filled with dialogue.

The acting is tremendous, and the actors themselves inhabit these characters naturally and flawlessly. Even Tully (Anson Mount), who's supposed to be charismatic and handsome, is charismatic and handsome in the way that someone would actually be in real life, not in the way that movie stars are.

Grade: A