No Such Thing

No Such Thing (2002) was my first Hal Hartley's movie. Checking its site on Netflix when I ordered the DVD, I was intrigued by the viewers' reviews on the very first page that differ from one star to four, and by the Top 10 Lists of the viewers who had seen the film already. The lists included "Independent does not mean good", "Don't Waste Your Stamp", and the most sincere "What the heck am I watching?" I knew that I was going to see a different, controversial, and interesting movie. After I saw it, I was very impressed. I know that I will look for more Hartley's works.

As far as the story goes, like many directors before and after him Hal Hartley re-tells the old but immortal legend of Beauty and the Beast which is set in the modern, post 9/11 (even though the movie was made before September 11, 2001) world. The film is worth watching for many reasons. First, it is visually beautiful and poetic especially the scenes shot in Iceland, mysterious far-away country. It did not surprise me that the monster made the remote Iceland his residence. Second, the music score that Hartley wrote himself was appropriately gripping and disturbing. Third (and very important for me), any movie that would place in one scene two of the greatest actresses of older generation, Helen Mirren and Julie Christie, and young but enormously talented and charismatic Sarah Polley and let them do the magic of acting together, is a remarkable movie in my book. And the last one, it is the interesting and compelling, satiric and biting retelling of Beauty and the Beast dropped against the frenzy of the modern media hunger for sensations at the time when terrorism is omnipresent. The film explores the nature of the beast in original, ironic, and clever manner. I guess I can call it a Hartley way. The bitter, cruel, deadly tired from eternal insomnia and scornful (quite often for good reasons) to human race monster as played by Robert John Burke, is sarcastic, scary, observant and strangely sympathetic. I would recommend the film and I am sure in case of No Such Thing, independent does mean good.

As individuals, or collectively as a society, what is it, exactly, that we are afraid of? Since the beginning of time, what has really been behind all those knee-jerk reactions that have brought us to where we are today? These are the questions posed (and answered) by writer/director Hal Hartley in `No Such Thing,' an often biting satire of the news media, the all-to-prevalent-in-our-society tabloid-type mentality and our response to the unknown, be it tangible or imaginary; a film that brings us face to face with fear and confronts it with humor, pathos and Hartley's own insightful and inimitable take on the human condition.

Some time after a three-man television news team disappears after being sent to Iceland to investigate reports of a `monster' living on a rock island just off the coast, the station receives a tape recording from someone claiming to be the monster himself, describing in graphic detail what he did with those dispatched to find and film him. `The Boss (Helen Mirren)' of the news department, in her quest to give the public the `worst news' possible, agrees to send another employee, Beatrice (Sarah Polley), to Iceland to follow up on it, since Beatrice was engaged to the cameraman of the crew gone missing.

After a temporary delay due to circumstances beyond her control, Beatrice finally makes it to Iceland, where she has to trek to a remote village on the coast (the final leg of which she has to walk, as even horses can't make it through). Once there, the locals tell their tales of the `monster,' who has apparently always been with them, and point out to her the rock upon which he is purported to live. And Beatrice finds herself at the point of no return; she has come this far, and now it's just a matter of getting some help from the villagers to get her across the channel to the rock-- and her encounter with this monster who is `changeless and eternal.'

As no one else can, Hal Hartley has crafted and delivered a film that is part `Beauty and the Beast,' part `Frankenstein,' part `Forbidden Planet,' and ALL Hartley. Unlike most films featuring a `monster,' Hartley does not keep his audience in suspense, but reveals his `man/beast' at the very beginning, as we see him making the tape he subsequently sends to the T.V. station. And he's an ugly spud (credit goes to Mark Rappaport for special effects makeup), unique among all of the monsters in cinematic history. Hartley's creation affects a John Wayne countenance, drinks too much and speaks perfect English (how this can be so is ultimately revealed). Hartley then layers one unexpected event upon another, using black comedy to present a scathing social commentary, incisively composed through his keen insights into human nature. The allegory of the tale is concealed in who this monster really is, and what he wants, and it brings to mind Dr. Morbius and the secrets of the Krell.

Absent in this film is the trademark cadence Hartley generally has his actors employ through a very deliberate delivery of their lines, and it is missed, as it is one of the elements that makes his films so engaging, creating as it does a fairly hypnotic effect (similar to the method employed by David Mamet in his films). Still, the Hartley magic is alive and well, and by keeping his volatile monster front and center throughout the film, rather than as a mysterious entity hidden in the shadows to whom he merely alludes, he succeeds in keeping his audience totally involved. Hartley is also a master of `thinking outside the box,' which enables him to offer entirely unique perspectives on the human condition and this thing we call `life'; you never know where he's going to take you, which is another reason why his films are so engaging (as this one certainly is). He knows how to make that all-important connection with his audience, but he chooses to do it indirectly, offering thought-provoking scenarios in a way that gives his viewer the option of coming on board or standing by while the ship sails; a kind of `you can lead a horse to water,' proposition that most filmmakers would not have the courage to employ. Keep in mind, though, that once you hit the deck with Hartley, the rewards are many and great.

Working with Hartley for the first time, Sarah Polley proves to be a quick study in all things Hartley; in creating Beatrice, she demonstrates an innate grasp of his methods, and most importantly, what it is he is attempting to accomplish through his characters. And this has to be a challenge to any actor; just as not every actor can work with Woody Allen because of his approach, it would seemingly be difficult with Hartley because of his unique perspectives. Whatever the case may be, Polley succeeds splendidly, presenting a convincing character who is decidedly all `Hartley.'

Helen Mirren, too, demonstrates her versatility and consummate professionalism by falling into Hartley's rhythms with apparent facility. The role of `The Boss' is something of a departure for Mirren, but she immerses herself in the character with gusto and makes The Boss believable. And she seems to be enjoying herself immensely in doing so. A terrific actor, she's a joy to watch in this one.

As the monster, Hartley regular Robert John Burke steals the show by creating a monster that is so stunningly atypical; this beast has a fearless swagger and the wisdom of millennia to back it up. Burke readily conveys his disdain for human beings with terms and a tone that fairly drips with cynicism, and it is in his portrayal that we find both the real humor and the pathos of the film.

The supporting cast includes Baltasar Kormakur (Artaud), Julie Christie (Dr. Anna) and Stacy Dawson (Mugger). Off-beat and entertaining, `No Such Thing' is a unique experience that is going to make you think a bit. 9/10.

Hal Hartley is an original film maker. With this film, which I recently saw in DVD form, he presents us a modern day parable about the media an its influence on our lives.

It's curious to see how ahead of his times Mr. Hartley is when he deals with paranoia, even before the attacks of 9/11, in his own subtle way. It was not intentional, I'm sure, but he proves to have a keen eye for what was coming.

The film is not one of Mr. Hartley's best, but we see his sure hand behind all what he is trying to do here. He is working with a cast that is working with him for the first time, with the exception of Robert John Burke, the Monster. Sarah Polley, is one of the best actresses working in movies these days. Her Beatrice is a study in contrasts. Also excellent, as always, is Helen Mirren, Beatrice's boss who is ruthless, arrogant, and manipulative. She knows the secret of how to get attention in the worst possible ways. Julie Christie makes a rare appearance as a kind doctor who befriends Beatrice.

The scenery in Iceland is magnificent and Mr. Hartley captures it brilliantly.

The plot of No Such Thing is the kind that dreams are often made of, it is weird yet it has something in the way of a narrative.

Sarah Polley flies to Iceland in search of her missing fiancée only to discover beast dressed in a 17th century outfit, drinking his life away from depression. He wants to die, but he cannot, because he is indescribable. The forces of man's world cannot harm him. Polley, offers to help him by brining him back to civilization. They are searching for a famed doctor who has managed to manipulate the law of physics to create a force that 'may' be strong enough to break this unbreakable monster, but first, the monster has to clean up his act.

I have always liked Sarah Polley, I think that was why I was drawn to this film. The idea was intriguing, and the film certainly is, but that does not necisarily make it good. No Such thing has no such idea of what it wants to be. Sometimes it is happy, sometimes sad, sometimes cute and sometimes grim. One thing that is consistent is it's inconstancy.

Perhaps the best way to look at No Such Thing would be to call it a twisted take on Beauty and the Beast. Even if watched this approach, it is not so easy to fall in love with the movie. Polley and her large warty co star make a poor screen couple, and they have very little to say to each other. The screenplay is mostly dialogue for the sake of dialogue.

The film keeps you going, so I wouldn't call it disappointing, but the climax is way too short and contrived, and it is followed by an almost non existent ending. It the kind that wakes you wanna ask, 'What was this all about?'

I would imagine most people who have viewed No Such Thing have asked that very question when it ended. If you wanna join the list be my guest. For better or worse, it is a very weird tale.

Imagine that the original "Outer Limits" folks remade "King Kong" in their standard monster style and you have a good idea of "No Such Thing's" look and feel. Then throw in a little "Mighty Joe Young" banter, "Beauty and the Beast fashions", and "The Song of Bernadette" for good measure.

The film is a stylistic masterpiece and the banter between the beast and Beatrice (Sarah Polley) is surreal comedy at its best. If you enjoy quirky and subtly off-kilter films then the superficial story of "No Such Thing" will be a real pleasure in itself. Don't let frustration over the underlying meaning ruin the fun during the first viewing-just go with it.

The DVD does not contain a director's commentary so the viewer is left to speculate on just what this thing is really about; what themes Hartley is serious about and to what degree the obvious themes are just there for parody and laughs.

My retrospective take is that it is about the interplay of evolution and intelligent design, with the monster an artifact left over from creation. God created the monster, knowing that humankind needs fear for motivation. He expected us to have evolved beyond fear and hate of each other long before now, creating a need for the monster. But this did not happen, making the monster irrelevant and God disillusioned with humankind. Both he and the monster are bored with the stupidity they see.

God decides to intervene so the monster can go away and be put out of it's misery. He chooses Beatrice for this mission and she goes through a miracle survival experience to heighten her appreciation for life and to give her a distanced perspective free of fear and hate (the plane was going to crash with no survivors). Sarah Polley is perfectly cast as Beatrice; her Beatrice is somehow both detached and expressive. If you enjoy Polley you will love this character.

Virginia Woolf: Someone has to die Leonard, in order that the rest of us should value life more.