Dear Frankie

"Dear Frankie" is a heart-tugging family romance with decidedly non-Hollywood touches that add to its charm and poignancy.

We are swept into both sides of an unusual epistolary relationship -- one between a mother and son, as each takes on alternative identities to communicate, and we get to hear their adopted voices as well.

The son is an isolated deaf kid who won't talk but pours out his heart in letters, while his fiercely protective mother pretends to be his fictional seagoing dad in response. We are drawn into their parallel stories from each perspective, as their defensively claustrophobic relationship has an outlet in this fictional geography as they gradually start dealing with the real world.

Emily Mortimer combines strength and naked vulnerability, as she did in "About Adam" and "Lovely and Amazing," while the son is captivating in an almost mimed role without being as treacly as the kid playing Peter in "Finding Neverland." Debut director Shona Auerbach keeps the movie tethered to reality with evocative use of Glasgow and its active port. We are anchored in a working class bloke territory that becomes a rocky shore for an untethered single mom living with her mother and her kid. This is tellingly symbolized when Mortimer braves a rough waterfront bar.

And then re-emphasized in a hotel tea parlor whose atmosphere electrically changes the minute rugged Gerard Butler pops up on screen. Epitomizing that cinematic manliness that is so talked about as lacking from most American actors these days, Butler's absolutely authentic masculinity instantly telescopes what this mother and child have been missing, and not just his sexual gravitas. Butler movingly demonstrates how a guy's guy plays paternal through such simple things as football, skipping stones, eating and of course dancing.

I don't know if I missed the clues to the concluding twists, but Hollywood would never let these lovely mysteries be, let alone as an achingly long look into each's eyes.

It's nice to see faces from Scottish TV shows in atypical roles, Sharon Small deservedly having a steady boyfriend on screen for a change, and Cal Macaninch, the nice guy from "Rockface" as the not nice guy here.

The Scots accents are thick and I did miss some punch lines in the dialog here and there.

The song selections are lovely, including a Damien Rice track that hasn't been overused yet.

I saw the movie last night in Los Angeles - it's only playing at a couple of theaters. Other reviews undoubtedly explain the premise of this film so I'll dispense with that . . .

Folks looking for a lot of exposition or for a film that screams "Hey! Look over here!!", or Gerry Butler fans looking for some of that famous sex appeal should be warned. This film is very subtly written and acted. Much of the story is told on the characters' faces, on what that tells you about what is going on internally within the characters. The characters aren't archetypes (i.e., villain, precocious kid, cynical older woman) but real and complex people who like the rest of us face life without histrionics or mugging for the camera. No plots are hatched but we see choices have been made in increments so that the idea of hiring a "stranger" to play dad does not seem contrived. I disagree that the audience is being manipulated; in fact, what could be a predictable manipulative ending is not, and is left to the viewer to interpret. The film tells you a story but doesn't try to tell you how to feel about it. Even the music is simple and subtle, no sweeping rifts to get your emotions going. It is a quiet film with a good story and people you end up caring about - as if you'd peered into their lives for a few days.

This was one of the best films I have seen for many years. The photography is absolutely marvellous; it hardly needs anything else.

The acting is restrained, measured and true. I couldn't get much better than this.

It is true that it is emotionally laden but it is not all sadness, there is also humour, affection, and most importantly hope. If you find it too emotional you can always pretend that smoke got in your eyes.

Isn't the function of a good film to try and draw out emotions ? It is especially rewarding when these are positive and natural rather than base and specious.

An easy 10 out of 10

Like all the best stories, this one is simple and affecting.

There's not a lot in Lizzie and Frankie's lives to aspire to, constantly on the move and clearly in fear of something. All Lizzie wants is to give Frankie the life he deserves, and in the process she sacrifices her own comforts and happiness. The letters Frankie receives from his 'Dad' (written by Lizzie) afford him the comfort and release of imagining far-away adventures and his replies speak to Lizzie in a clear voice which Frankie's deafness denies him in real life.

The prospect of meeting his father, when his ship comes to town, is Frankie's dream - at last the chance to meet the exotic and mysterious man who loves him so much - and Lizzie's completely unexpected nightmare. How they deal with it, more together than they realise at first, is the heart of the film.

Having painted the slightly depressing picture of a mother and son caught in a life which they wouldn't have chosen for themselves, the film runs the risk of mawkish sentimentality to achieve a satisfying conclusion. This, of course, would only appeal to the most sweet-toothed romantics in the audience. But the film's skill in involving the viewer makes for a rewarding experience and the danger of tears being shed by even the most hard-hearted who see it.

One of the most beautiful films I have ever seen, Dear Frankie is a true hidden gem without the glossy cloak of stardust that you get with so many films. It's definitely in among my favourites.

It has a unique and thoughtful storyline that is portrayed by the perfect combination of actors. There are no superstars or big names, just a group of people who want to make a film that pulls heartstrings which it does successfully. Dear Frankie gives you that rare feeling of sadness and happiness which is hard to forget.

It was a true masterpiece, the most near-perfect film that I have ever come across.It was the only film to ever bring tears to my eyes, which is quite a feat.