L'incroyable destin de Harold Crick

I have been very surprised recently that I have actually enjoyed several Will Ferrell movies. Why surprised? Well, to put it bluntly, most films made by ex-Saturday Night Live performers have been pretty wretched (though there are some exceptions) and I usually avoid them like the plague. With films like DR. DETROIT, NEIGHBORS, A NIGHT AT THE ROXBURY, FUNNY FARM, BEST DEFENSE, HERE'S PAT, etc., it's easy to understand my misgivings. However, despite my strong bias, I must admit I really enjoyed TALLADEGA NIGHTS as well as STRANGER THAN FICTION--though they are both very, very different movies.

While TALLADEGA NIGHTS is extremely silly and a great parody, STRANGER THAN FICTION is not exactly a comedy, though it has some nice comedic moments. Instead, it's a fantasy, comedy and romance all rolled into one and it was nice to see Ferrell finally underplay a role. His character was extremely obsessive-compulsive and emotionally constricted--yet this was NOT played for laughs--an excellent decision.

The film initially seems a lot like the old skits on "The Carol Burnett Show" which featured a writer typing a story and you saw actors playing it out as if they were real. However, the simple story idea was drawn out but didn't seem padded and offered some lovely insights into deeper philosophical issues. It was NOT a film for dopey teens or an undemanding audience, but a thoughtful and intelligently constructed film that caught my interest.

If you are looking for screwball comedy or lots of laughs, then you will no doubt be disappointed. However, if you watch the film with few preconceptions and expectations and have an open mind, I am sure you'll enjoy the film. It's nice to see that I was wrong about the film and the "SNL curse" did not seem to apply.

This movie was such a great surprise! I saw this at an advanced screening just days after suffering through Marie Antoinette. What a pleasant escape! The cast did an outstanding job. Who doesn't love Will Ferrell, but to see him in this role gives me a whole new level of respect for him as an actor. He simply shines on screen! Maggie Gyllenhaal is a delight. Emma Thompson is brilliant as always. Simply wonderful! The writing was terrific. It was so nice to see a movie that could make you laugh and think (not too hard) at the same time. Direction was well done as well - it was even visually appropriate.

Go see it and take a friend. You will laugh and be happy for a change after leaving a movie.

As the years have gone on I have come to realize that this, not the original Star Wars, is my favorite movie. And, having just re-watched it for the umpteenth time, I decided it was high time I left a review somewhere. I am a cynical person, I don't believe in a lot, I don't believe in love at first sight, or the power of the human spirit, or in humanity in general really. My brother tells me that makes me a misanthrope, and I don't disagree. If I sit down to watch Star Wars for example, I can't help but loudly and frequently pick apart its many flaws: the hammy acting from the extras, the dated special effects, the story as a whole, yadda yadda. But every. single. time. I sit down to watch Stranger than Fiction I find it akin to slipping my aching body into a warm bath after a looong day, my jaded personality submerging beneath the gentle and comforting weight of the familiar story. Will Farrell is a clown most days, making such masterpieces as Anchorman and Ricky Bobby (that was sarcasm), but in this movie he stands shoulder to shoulder with cinematic giants like Dustin Hoffman and Emma Thompson and he SHINES as Harold Crick, his performance subtle and low key, but poignant and introspective. This of course stands in contrast to Maggie Gyllenhaal's 'Miss Pascal': so vibrant and full of life, with a kind and warm personality that is undiminished by an occasionally fiery temper. Whenever she comes on screen with her passion and femininity I can't help but empathize with Harold, because with each touch and sigh from Maggie I inevitably want her as badly as he does. The two of them coming together is like that bath we talked about, or a hug from someone you love after far too long apart. But setting aside the love interest, the story itself is so much fun to experience: that of a character who is not supposed to know about his impending demise, yet does, and how that knowledge spurs him to embrace his life, however long it shall be. Sentimental? Absolutely. So what? 10 Stars. People more cynical then myself will throw shade at this film, and I strongly urge them to go and eat a cookie.

I saw this film at the Chicago Film Festival opening last night. I went not knowing a thing about it in advance, and was pleasantly surprised. I'd suggest that people DON'T read specifics about this film before seeing it.

The story/script is fantastic - I'd be surprised if it didn't get nominated for the big original screenplay awards. It's interesting, funny, poignant, and quite charming, actually.

The casting in general is wonderful... As someone else said, Hoffman is perfectly understated... I'd never seen Maggie Gyllenhaal before, but I'm a fan after seeing this one. And Emma Thompson could see a best supporting actress nod for this film.

Sadly, I thought the film's weakest point was the casting of Will Ferrell in the lead. He's not bad by any means, but he just doesn't work at the same level as the rest of the cast. Kudos to him for what he DOES accomplish in this film, but it would've had plenty of starpower without him, and the role could've been used to showcase someone else's talent.

All in all, thumbs up.

Just my two cents.

What if you only realised the importance of your life only days before you lost it? Even knowing when or how you will die (not such a fatuous idea with the completion of the Genome Project) raises difficult questions about how much we really want to know about ourselves.

Such a theme is usually simplified and subsumed into religious-based tales such as It's a Wonderful Life, but taken as an idea in its own right it has considerable intellectual weight. Harold Crick finds himself the main character in a story as it unfolds, but his annoyance quickly shifts gear as he is aware of the author saying, "Little did he know . . . it would lead to his imminent death."

Not the mindless comedy that the trailer suggests, Stranger Than Fiction is a precise and fairly cerebral story where the laughs stem more from individually appreciating certain aspects of its cleverness rather than any contrived humour.

The surface story is of a man who lives a humdrum if 'successful' life and is awakened to a more three dimensional existence by falling in love. The additional elements will either delight or annoy. IRS auditor Crick (Will Ferrell) starts hearing a voice in his head. It is that of Kay Eiffel (Emma Thompson), a famous author. She describes exactly what he is doing but with a rather better vocabulary than he possesses. When she announces his imminent death, he takes drastic steps to meet her and persuade her to change the ending of her novel.

The characterisation, casting and acting is spot-on. Thompson is at her most refreshingly deranged as the harassed and reclusive author. With a literary equivalence of method acting, Eiffel balances on the edge of her desk trying to imagine the thoughts of someone about to make a suicide jump. She sits in the freezing drizzle watching cars cross a bridge to imagine an accident. Her rants at her 'editorial assistant' (who uses more traditional methods of accessing imagination) give a convincing insight into the creative process. While the voice in Crick's head is stereotypical Thompson, the fuller, isolated character, when we meet her, is a minor revelation. "I don't need a nicotine patch," she declaims angrily to her assistant. "I smoke cigarettes."

Maggie Gyllenhaal, as law drop-out turned baker Ana Pascal, sparkles, glows and is sexily alluring and radiant with passionate love of life - and she manages to light up the screen faster than, say, even Juliette Binoche in Chocolat. Dustin Hoffman has the least challenging of the main parts, but he endows his character (an eminent professor of literature) with the gravitas needed to take ideas of literary interconnectedness seriously. Will Ferrell gives a remarkable break-out performance in a straight role, reminiscent of Jim Carrey in The Truman Show. He is superbly suited to the part as audiences expect him to be a shallow comedy character and here he is trying the find the substantial person inside himself. Most of the audience are concentrating so much on the film's intricate hypothesis and how it is worked out, that only afterwards do we realise what a range of emotions Ferrell has to portray with complete seriousness.

Novelist Kay Eiffel (Thompson) anthropomorphises things like Crick's watch (similarly the official website says, in real time, "As the cursor waited anxiously for the site to load, it couldn't help but feel an overwhelming sense of elation.") We sense a life-imbuing process that might even be likened to what an actor does with his character; but the film goes a stage further by drawing a similarity with the essentially lifeless, clockwork existence of the IRS auditor whose only escape is discovering love with Pascal. His quest is aided by fictional plot analysis from Professor Jules Hilbert (Dustin Hoffman) and of course begs the question, what is fiction?

Director Marc Forster showed consummate skill in portraying the positive escapism of JM Barrie's creative Peter-Pan-writing in Finding Neverland. With Stranger Than Fiction, he has teamed up with brilliant new dramatist Zach Helm. Helm is fascinated with the writing process in what he calls a larger Post-Modern movement. "From Pirandello, to Brecht, to Wilder, to Stoppard, to Woody Allen to Wes Anderson, we can see the progression of a contemporary, self-aware, reality-bending and audience-involving wave in dramatic literature," he says. "I love to see Homer Simpson reacting to his creator, Matt Groenig, or the cast of 'Urinetown' complaining from the stage about their own title."

Even the street names, business names, and the characters' last names of Stranger Than Fiction are significant – Crick, Pascal, Eiffel, Escher, Banneker, Kronecker, Cayly, etc. are all puns on mathematicians who focused on the innate order of things. The invitation is to ask what is beyond the symmetry of things.

Stranger Than Fiction meets even its most formidable challenge - making the ending nail-biting and moving after such surreal content. But the ultimate message of the film seems a little trite if it is supposedly coming from a groundbreaking author. Like the glimpses of Eiffel's book, we are given impressive mountains of style but little substance. As the film doesn't press the strengths forcefully by admitting in so many words what it is getting at, there is a chance you may not bother with the subtleties - in which case it adds up to very little.

A superb testament to inventiveness and worthy of awards in many different categories, Stranger Than Fiction somehow falls short of being a masterpiece.