Committed

Heather Graham is pretty good, but this is probably that last movie that will show her as an actress, all others will try to use her as a star. This movie is a bit tedious but worth one watch. It will not be one of your favorites, but it will not be one you regret the loss of two hours.

Joline (Heather Graham) married Carl (Luke Wilson) and about five hundred and some days later, Carl is very depressed and leaves her, expecting to `clean the fog' in their lives. Joline faces her marriage as an important commitment to the end of her life, and decides to look for Carl in Texas. She is very supported by her brother Jay (Casey Affleck), who meets her in the border of Mexico. There, Joline meets the confused Carl and realizes that she can not change his decision, while Jay knows Carmen (Patricia Velasquez) and starts dating her, and in the end `life goes on'. This movie is very unpredictable, having a very different story. I believe it is an independent production. In some parts, it is a little slow and boring, but there are certain dialogs that makes this movie worthwhile. I liked it, and my vote is seven.

Title (Brazil): `Rebeldes Até o Fim' (`Rebels Until the End')

Some people drift through life, moving from one thing or one person to the next without batting an eye; others latch on to a cause, another person or a principle and remain adamant, committed to whatever it is-- and figuratively or literally they give their word and stand by it. But we're all different, `Made of different clay,' as one of the characters in this film puts it, which is what makes life so interesting. Some people are just plain crazy, though-- and maybe that's the way you have to be to live among the masses. Who knows? Who knows what it takes to make things-- life-- work? Writer/director Lisa Krueger takes a shot at it, using a light approach to examine that thin line between being committed-- and how one `gets' committed-- and obsession, in `Committed,' starring Heather Graham as a young woman who is adamant, committed, obsessive and maybe just a little bit crazy, too. Her name is Joline, and this is her story.

Admittedly, Joline has always been a committed person; in work, relationships, in life in general. She's a woman of her word who sticks by it no matter what. And when she marries Carl (Luke Wilson), it's forever. The only problem is, someone forgot to tell Carl-- and 597 days into the marriage, he's gone; off to `find' himself and figure it all out. When Joline realizes he's not coming back, she refuses to give up on him, or their marriage. Maybe it's because of that `clay' she's made of. Regardless, she leaves their home in New York City and sets off to find him, which she does-- in El Paso, Texas, of all places. But once she knows where he is, she keeps her distance, giving him his `space' and not even letting him know she's there. She considers Carl as being in a `spiritual coma,' and it's her job to keep a `spiritual vigil' over him until he comes to his senses. And while she watches and waits, her life is anything but dull, as she encounters a young woman named Carmen (Patricia Velazquez), a waitress at one of the local eateries; Carmen's `Grampy,' (Alfonso Arau), who is something of a mystic; T-Bo (Mark Ruffalo), a truck driver who has issues concerning Carl; and Neil (Goran Visnjic) an artist who makes pinatas and takes a fancy to her. For Joline, it's a journey of discovery, during which she learns a lot about Carl, but even more about herself.

There's a touch of humor, a touch of romance, and some insights into human nature in this quirky film that is more about characterization and character than plot. And Krueger presents it all extremely well, delivering a film that is engaging and entertaining. Her characters are very real people, with all the wants, needs and imperfections that make up the human condition; a rich and eclectic bunch through which she tells her story. We see it from Joline's point-of-view, as Krueger makes us privy to Joline's thoughts and therefore her motivations, which puts a decided perspective on the events as they unfold. That, along with the deliberate pace she sets that allows you to soak up the atmosphere and the ambiance she creates, makes for a very effective piece of storytelling. There's an underlying seriousness to this subject matter, but Krueger chooses to avoid anything heavy-handed or too deep and concentrates instead on the natural humor that evolves from the people and situations that Joline encounters. And the result is a well textured, affecting and upbeat look at that thing we call life.

Heather Graham takes hold of this role from the first frame of the film to make Joline a character totally of her own creation. She immerses herself in the part and gives a performance that is convincing and believable, adding the little personal traits and nuance that makes all the difference between a portrayal that is a mere representation of a person, and one that is real. And for this film to work, it was imperative that Joline be viable and believable-- and Graham succeeds on all fronts. Her screen presence has never been more alluring, and her vibrant personality or even just the way she uses her eyes, is enough to draw you in entirely. it's all a part of the character she creates; there's an appeal to Joline that exudes from her entire countenance, who she is inside and out. She's a likable, agreeable person, and because you've shared her innermost thoughts, you know who she is. It's a good job all the way around, beginning with the way the character was written, to the way Graham brings her so vibrantly to life.

As Carmen, Patricia Velazquez is totally engaging, as well. Her performance is very natural and straightforward, and she uses her instincts to effectively create her character. She has a charismatic presence, but is less than flamboyant, and it gives her an aspect that is attractively down-to-earth. She is refreshingly open and up-front; you get the impression that Carmen is not one to hold anything back, but is totally honest on all fronts, and that, too, is part of her appeal. And, as with Joline, this character is well written, and Velazquez brings her convincingly to life.

Overall, there is a number of notable performances that are the heart and soul of this film, including those of Luke Wilson, Casey Affleck (as Joline's brother, Jay), Goran Visnjic, Alfonso Arau and especially Mark Ruffalo as T-Bo, who, with very little actual screen time, manages to create a memorable character.

The supporting cast includes Kim Dickens (Jenny), Clea Du Vall (Mimi), Summer Phoenix (Meg), Art Alexakis (New York Car Thief), Dylan Baker (Carl's Editor), and Mary Kay Place (Psychiatrist). A film that says something about the value of stepping back to consider The Big Picture-- reflecting upon who we are, where we're going and what we really need-- `Committed' is an enjoyable experience; a ride definitely worth taking. 8/10.

COMMITTED (2000) **1/2 Heather Graham, Casey Affleck, Luke Wilson, Goran Visnjic,Patricia Velasquez, Summer Phoenix, Clea Duvall, Kim Dickens, Alfonso Arau, Mary Kay Place.

They say marriage is an institution and to paraphrase the retort to that one-liner, `And I'm much too young for an institution' (BA DUM DUM!) In filmmaker Lisa Krueger's sophomore effort she proves you don't have to be crazy to be married but it helps.

Joline (the fetching Graham) is a concert promoter for a small venue in New York City whose 2 year marriage to budding photojournalist Carl (Wilson, in another variation of his corn-pone dudes) is facing a `crisis of faith' when Carl inexplicably deserts her while traveling on business leaving her to come to terms even when she throws a birthday party for him (`it's been 8 months since his last one' she states matter-of-factly) inviting all their good friends and her brother Jay (Affleck) who tries to help her with a postcard from Carl indicating he's more or less out west trying to get his thing together. Taking this as a cue to get her man back and salvage their relationship she rents a car and embarks to the desert landscapes of America enduring many hardships (including a drive by robbery attempt while fixing a flat tire with humorous results) and inspired sleuthing (she literally holds up the postcard with it's visage of a cactus trying to hone in exactly where Carl sent it from!)

By a fluke of good luck Joline discovers her estranged spouse working in El Paso for the local paper but learns his dream of being a passionate artist has gone unexplored since he's still shooting stills of food. Pacing herself (and fooling herself in the process) to wait for the right moment to spring herself upon him she follows him back to his dusty new dwelling on a border town existence and sits in her car waiting in the heat.

Along for the wait is Carl's next-door-neighbor, Neil, a hunky outspoken artist (played by `ER's resident sex symbol Visnjic) who immediately hits upon his newly found friend and possible sexual conquest. In no uncertain terms he sits next to her car in a fold out chair, sipping from a thermos and speaking his thoughts to her; specifically what he'd like to do with her. Joline doesn't seem entirely fazed by this but doesn't dissuade his charm. What works in this deceptively clever screwball comedy is the wide-eyed intensity of Graham, the latest independent film queen, who just seems to get bigger and better (she was a riot in last year's hysterical Steve Martin/Eddie Murphy Hollywood sendup `Bowfinger') whose determination to do anything to keep her marriage intact despite all odds against her is something of a small marvel in witnessing someone slowly sink into desperation and borderline madness for the one they love.

Krueger, whose `Manny & Lo' from several years ago was the darling of The Sundance Film Festival, has some of Jonathan Demme's panache in depicting everyday characters in unlikely situations with the air of menace about them but allowing them to remiain intact even if it seems bleak.

Also noteworthy are sexy newcomer Velasquez as Carmen, Carl's would-be new girlfiend, a Mexican waitress who fast becomes Joline's good friend, suggests a silkier version of Sandra Bullock, and director Arau (`Like Water For Chocolate') - making a rare acting appearance - as Carmen's mystical grandfather who guides the addled Joline not unlike a Zen Ben Obi-Wan Kenobi via a ritualistic guideline of luring her man back. And I especially liked one of the sexiest scenes I've seen in years when Visnjic tells Graham to close her eyes and unbeknownst to her lets his hand travel hover across the countours of her sexy outline while Glenn Campbell's classic `The Wichita Lineman' plays quietly from her blistering car; magical.

The only problem with the film is there aren't that many gut-busting scenes but then again this isn't exactly supposed to be `The Naked Gun'. It only falters near its end when Joline finds herself literally the title of the film. Until then it's a nicely paced journey of self-discovery in realizing that what doesn't kill you only makes you stronger.

Joline (Heather Graham) sets out after her husband Carl (Luke Wilson) who disappeared to clear his head about himself and their marriage. Joline, who is committed to their marriage starts her journey to find Carl, yet on the way discovers a lot about herself. On her trip she encounters a bountiful of interesting characters who unknowingly help her find her way.

In my eyes this is a classical road movie, which moves just at the right pace (some viewers may find it too slow). Throughout the movie it keeps its humorous note while Joline responds to the craziness of the world around her with a warm, knowing, sometimes sad smile. All actresses and actors give wonderful performances and the musical score is immaculate. 9/10