Off the Map

"Off the Map" is an "old-fashioned" film that made me feel, in the immortal words of Frank Zappa, that it's f*cking great to be alive. This film took me to a place in my heart I haven't been since the wonderful Bill Forsyth ("Local Hero") faded from the movie-making scene. It is high time for humane, gentle, wholly original stories of people and places off the map (or in our technological dystopia, perhaps `off the radar screen' would be more appropriate) to fill our movie dreamscape again. New Mexico is the only place in the United States this could have been filmed because, indeed, only the Land of Enchantment could have fit this gorgeous, lyrical story so well.

There wasn't a single relationship in this film that wasn't unique and fully realized. We've seen these set-ups before: the school-girl crush of Bo for William Gibbs, the awe-inspired worship of William for Arlene, the friendship between Charley and George. But don't we always get the caricatures, the popcorn images that point out the woeful arrested development of our country and its mythmakers? We think we want to be young forever. But it takes a film like "Off the Map" to show us all the richness we're missing out on by not growing up. (And the casting and direction of this ensemble of actors was nothing short of genius, especially Joan Allen. It's nice someone can see her as something more than middle-class white bread and pull this very individualistic performance out of her.)

I'm feeling kind of emotional just thinking about some to the great scenes in this film: when Charley runs 20 miles to George's house and goads him into wrestling; when Charley and William talk about what it feels like to be depressed; when William watches Arlene standing naked in her garden watching the totemic coyote; when Bo extracts from George the information she needs to apply for a MasterCharge card; Arlene reading Bo's letter in the newspaper advice column; Bo thanking the squirrel for giving up its life to feed her and her family; George's presence, like an old pair of sneakers, in the Groden home.

Like I said before, I didn't think people made films like this anymore. Thank you, Campbell Scott, for proving me wrong.

This movie just blew my mind!! Let me start by quoting some of the review in LA Weekly:

From beginning to end, the movie achieves nearly complete originality of expression that makes it as anomalous a figure on today's independent film landscape as the film's characters are on theirs. Sequestered on a ranch deep in the recesses of rural New Mexico, a part-Hopi woman (Joan Allen), her catatonic depressed husband (Sam Elliot) & their precocious 11-year old daughter (Valentina de Angelis) live off the land...

The characters rarely do what we expect of them, while tragedy, absurdity and mordant humor are held in a precarious balance that recalls Sam Shepard at his best...

The ocean meets the sky in a cycloramic mural that, like the movie itself, is a small masterpiece of tone and form. To watch Off the Map is to be pulled into a private universe on the brink of civilization--from which, at the end of two hours, it is impossible to exit unaffected.

This is too true. Half the audience sat through all the credits & then sat for a long few minutes more, just unable to move. For the second time in a week--1st was after Dear Frankie--I was walking the beach for an hour working off feelings stirred up by a film. I don't usually react this way!!

Some more observations from me:

Acting: Joan Allen has GOT to get an Oscar nomination for this! She's excellent throughout, but there's one scene you will never forget: She's hoeing the garden nude with a floppy hat standing like a statue. I won't say more, but what you think is going on isn't. The whole way the scene is filmed is both hilarious & just wow all at once. She was so brave doing that--and no ridiculous implants for her! She's just gorgeous.

Valentina: She shines. It reminded me of the reaction Natalie Portman got in Beautiful Girls. The one where men were saying, "I feel like a pervert, but I can't wait for her to grow up." But this blows Natalie away, in my opinion.

Sam Elliot does an amazing job as the depressed husband. He looks old & grizzled these days but he's got a sexy deep sand papery voice I've always liked. And he's still handsome.

Jim True-Frost plays a visitor who gets drawn into their strange world. He has several excellent scenes where he blurts out all these intense feelings.

Script: The whole story is just so unique. And the dialog is really clever. It will remind you a little of David Mamet.

Directing/camera-work: Campbell Scott created an amazing film and has an eye for beauty and a feel for understated but potent eroticism. But what really got me is the way they framed shots when the characters start doing something really random. The action often starts outside the audience's POV & pans over so you're craning in your seat to see what's going on in anticipation.

I can't recommend this highly enough!

I saw this film at the High Falls Film Festival in Rochester NY, and had the pleasure of speaking with many of the people involved in this production. I have to say that this is one of the best films I have seen in a while. It's REAL... with a tranquil quality.. but REAL in a way that we can all see and relate to these characters in some way. It is a "slow" film... but that's what makes it so AMAZING.... it sucks you into these peoples lives... not just the girl.. but those surrounding her. I would love to see more films made like this. Cudos to Camble Scott for such great direction and Joan Ackermann for writing such a beautiful play.. that is now on the BIG SCREEN!!

Please, go see this film.. it takes you on an amazing ride.. BUT.. understand... that this is not an action flick... it is REAL... almost gritty and dreamy... one minute you will be laughing.. and seconds later your laugh will abruptly stop and tears may come to your eyes.. then.. back to laughter!!

I highly recommend this film!!!

Winsome tale of a little family that chose in 1974 to unplug themselves from the "grid" of middle class life and go live off the land in the middle of nowhere, New Mexico. A windmill pumps their well water. They read by kerosene lamps. They grow vegetables. They've gradually stored away four years of food and three years of firewood.

Cash comes in the form of a small VA pension to the head of the household, Charley Groden (basso voiced Sam Elliott), plus some modest crop sales. All told, they take in about $5,000 a year. Which makes it curious indeed when they receive notice that the IRS is dispatching an agent to visit. But wait a minute, I'm getting ahead of things.

The other family members are Arlene Groden (the immensely versatile Joan Allen) and Bo (Valentina de Angelis), Charley and Arlene's precocious 12 year old daughter. A good friend, lonely bachelor George (J. K. Simmons), hangs around so much he seems like family too. The time in question here, when Bo was 12, actually was maybe a decade ago, for we are learning this story as a narrative reminiscence told to us by a now adult Bo.

The summer when she was 12 was marked not only by the advent of William Gibbs (Jim True-Frost), the IRS man, but by the occurrence of Charley's first ever episode of deep depression. It went on for months. He sits mute most of the time. Eats little. Sleeps little. Cries softly a lot. Refuses to seek professional aid from the VA.

Arlene manages to keep things going, but her generally serene style is eroding as the weeks go by. It doesn't help that Bo is restless, tired of her isolation, chafing to go to regular school, get a credit card, move out into the larger world. Not one to hide her light, Bo complains eloquently about her boring life, even as she maintains a loving, respectful attitude toward her parents.

The arrival of William Gibbs destabilizes the precarious symmetry of these people's lives. Turns out Gibbs is depressed too: maybe not as severely as Charley, but it's gone on for many years. He just became an IRS agent lately, grasping at some possible change for the better. In thrall to Arlene's mystical ways and beauty, Gibbs drops out of the IRS, moves into an old schoolbus on the property, and takes up watercolor painting.

Arlene and Bo are both grateful for attention from a new face. And, perhaps in a house too small for two depressed males, Charley begins to come out of his shell, with some help from a borrowed bottle of antidepressant pills that fire up a manicky conclusion to his near catatonic state. Even George comes to life and goes hunting for a woman to marry.

This is a small film about unconventional people, folks who don't fit the molds of middle class, rich, arty or neurotic urbanity that typify the subjects of so much traditional fiction – print and film. Adapted from a stage script by the playwright, Joan Ackermann, this work reminds me of the novels about quirky, offbeat people that have become so popular in the past few years.

I'm thinking of the work of authors like Louise Erdrich ("The Beet Queen"), E. Annie Proulx ("The Shipping News" – which, incidentally, was adapted into a fine film that did not receive the recognition it deserved), or Anne Tyler ("Clockwinder," " Dinner at the Homesick Restaurant," "A Slipping Down Life").

The movie is not without its hitches. Why is a coyote - to which Arlene had developed an intense spiritual connection - killed? How did Bo actually acquire that credit card and get approval to use it for such a grand and costly gift? The film starts somewhat bumpily. For a while it seems like Ms. de Angelis will overwhelm both her family and us viewers with her domineering intelligence. But with time, she, like the film itself, wins you over.

Indeed, "Off the Map" ends by charming you, making this film a pleasant surprise. It's of interest to compare "Off the Map" to another recent release about 1970s dropouts, Rebecca Miller's "The Ballad of Jack and Rose." That film more or less trashes the whole ideal of living a life according to values that run against the stereotypical middle class norms of acquiring material possessions and working to pay off the resultant debts.

The fact that Jack and his merry band failed to sustain their alternative way of life is implicitly presented as evidence that their aims were unsound, invalid. "Off the Map," on the other hand, conveys a better sense of what motivated people to drop out back then and shows that at least some dropouts achieved a measure of success.

I don't know why, but it took two years to bring this decent film to the screen (made in 2003, it is only receiving commercial distribution now). My rating: 7/10 (B). (Seen on 04/13/05). If you'd like to read more of my reviews, send me a message for directions to my websites.

In the mid 90's I had the privilege of seeing Joan Ackerman's original play,"Off The Map" at Mixed Company,in Gt.Barrington,Ma,In the Berkshires-where it was originally produced and performed-the play was beautiful,powerful and I fell in love with it.

This past Sunday-there was a special Fund Raising screening of "Off the Map" which I attended-with a Q&A with Joan and director Campbell Scott,afterword.The film blew me away!! Absolutely Stunning!! I came out of the theatre,feeling like I had been hit with something big-not sure what! The film is extremely faithful to the play-and really packs an emotional wallop to the soul-I couldn't have been more pleased with the cast-Top notch all around,with Sam Elliot playing against type-Joan Allen makes the perfect Arlene,and the girl,Valentina de Angelis was absolutely perfect as young Bo-as was the rest of the cast,J.K Simmons,Jim True-Frost- I am still stunned by this film,and am really looking forward to seeing it again,and owning it on DVD!!!!!!!!!!!!!!!