Blue Car

Blue Car is a dramatic story about a young teenager (Agnes Bruckner) that is over taken by the bad hand she was dealt in life. Trying to juggle school with a harsh family situation, she has become a product of her misfortunes making her that cliché isolated, depressed, quiet girl. With an absent father, disturbed mother, and a suicidal sister, she seems close to the breakdown point. However, a hopeful teacher (David Strathairn) comes a long and opens up a world to place her troubles upon... a world of poetry. The story follows her adventure of dealing with home problems while attempting to be prominent in a large poetry contest. Meg finds herself basking in a deep metaphorical state of catharsis as she seeks to find answers in a poem she writes about her father, titled Blue Car.

Finally, a coming of age/ school film that strays from the normal school formula of a John Hughes's film. The film's dramatic unexpected twists and turns will entice you to be emotionally involved with the characters on a seemingly depressed, yet interesting level. Fantastic film making teams up with even better acting to portray a film that is not only intriguing but important. This films proves that a budget can carry a film so far, and the rest lie with the actors and artistic view of the film makers involved. Director Karen Moncrief carefully films this story, exploiting her points through different film techniques. The story almost reads as a poem itself... the story is slow but moved gently and rings true to all who can relate. Actors Agnes Bruckner, and David Strathairn are two forces not to be reckoned with. The characters portrayed by the actors truly carry this film... making it an emotional journey for all who watch. If you appreciate superb acting and film making that pays more attention to realism and truth, you will enjoy Blue Car.

Life as it too often is: no heroes, no villains, just flawed people trying -- and, too often, failing -- to do the right thing. Applause to all concerned for their willingness to show tragedy without demonizing the people who create it. One of the most moving films I've ever seen.

It's always gratifying to see an independent film that tackles a thorny subject, knowing well that any of the major studios won't dare to sponsor any director who is original and has a different way to present the story. Such is the case with Karen Moncrieff, a courageous new voice who is a first time director working with her own material.

The idea that school is a safe haven for the innocent, is the subject to this film. Meghan who comes from a recently broken home can't accept the idea of her parents living apart. When in school, she looks up to a male role model, perhaps trying to fill that void in her life. At the beginning of the film Ms. Moncrieff steers us into thinking one way, when in reality she wants to tell us there is another side to the apparently kind man who takes Meghan under his wing.

As we have witnessed by the recent wave of revelations of sexual impropriety in the Catholic Church, there are people that tend to go to jobs where they can prey on unsuspecting young minds, only to satisfy their own sick desires. The film is an eye opener for any impressionable young person into believing these people that befriend them don't have ulterior motives.

Agnes Bruckner, as young Meghan makes an excellent appearance in the movie. Equally effective is David Strathairn, as the teacher. This actor is always a welcome addition to any film. Margaret Colin, as the mother, gives a painful characterization as Diane, who must make ends meet and has her feet on the ground. Frances Fisher, is the jaded teacher's wife who has seen her husband get involved with other young girls before.

Ms. Moncrieff is a talent to watch.

Bright and attractive but vulnerable and sad-eyed, Megan Denning lives in a deplorable situation in Ohio. Her single mother Diane works full-time and attends evening school. She is so engrossed with herself that she not only lends no support to Megan, but also expects her daughter to help her. Megan's emotionally disturbed little sister Lily mutilates herself and eats very little, if anything. Divorced dad is out of contact and remains behind in his sixty dollars per week support payments.

Still worse yet, Megan has not a single adult person to fall back on. It does appear that she catches a break when Mr. Auster, her high school English teacher, begins to mentor her, and encourages her talent in poetry writing, her emotional outlet. Megan had impressed Auster with her poem, "The Blue Car," about the time her father moved out and left in his … blue car. Auster asserts that Megan can do even better, and perhaps enter the state contest where he is one of the judges. After that there is the national poetry competition in Florida. At the beginning Auster keeps his distance, and uses his authorial demeanor to his own good advantage. He gives Megan an A+ for a poem, and writes "Be brave," a possible double entendre. Megan finds a chocolate car wrapped in blue with her belongings, a present from the teacher. Auster gives his student a ride home in his car, and then shares his lunch more than once. Gradually closing in, like a lion on an antelope, Auster is available for emotional support when a tragedy strikes the Denning family. He hugs Megan deeply. The flawed Auster is a wolf in sheep's clothing, and Megan is aloof to the danger. Along the way she makes several wrong decisions without apparent regret. Will she be able to extricate herself in the end?

This is a serious and depressing story, not a romance. Supporting the movie is the good acting while the characters are more than one-dimensional.

BLUE CAR (2003) **** David Strathairn, Agnes Bruckner, Margaret Colin, Frances Fisher, A.J. Buckley, Regan Arnold, Sarah Beuhler, Dustin Sterling, Mike Ward. Excellent indie festival hit about a teenage girl (Bruckner in a heartbreakingly raw turn) whose only solace from her crumbling domestic life is in her gift as a poet is mentored by her well-meaning but clearly coercive English teacher (Strathairn in one of his best performances) who goads her into a contest. First time filmmaker Karen Moncrieff delivers a truly audacious debut with a gift for character development and strong narrative as well as a shrewd cast (Colin gives her best turn too as Bruckner's downward spiraling mom and young Arnold as her baby sister is absolutely stunning) adds a lift above the norm in coming-of-age flicks that resonates with pitch-perfect depictions of a young woman coming into her own. One of the year's best films.