Northfork

This film played for a criminally short time in Buffalo and of course was gone by the time I wanted to see it. I'm sure the beautifully shot, rugged western landscapes would have been great on a big screen, but unfortunately I had to settle for the video version on my 13" TV. With that said, "Northfork" is that rare and elusive bird of movies: a commercial film that is worthy of the viewer's hour and a half and doesn't manage to be insulting. Despite the career sins of Nick Nolte and Darryl Hannah in the past, don't be turned off by their presence here. They are perfect in their respective roles, Nolte as world-worn mystic and Hannah as enigmatic ghost/angel/vision. Without rehashing a plot summary (which, I might add, is somewhat inaccurate on this site), let me say that "Northfork" is a kind of delirium, alternating between the dreamlife of a dying boy and the surreal landscape of a mostly empty town, peopled only by a handful of eccentric stragglers. The central plot, as it were, revolves around a group of state-sanctioned volunteers given the task of clearing out these final hangers-on before the town is flooded. The six deputized agents, clad in black and issued identical black sedans, speak in detached, banal fragments, going about their task with an odd fatalism. Although the dialogue and cold, alien demeanor owes heavily to David Lynch, it is sure to please fans of the eclectic and bizarre like myself. The other plot strand, that of the dying boy's fever visions, is a bit heavy-handed in places, with an overkill of its clumsy angel motif, but it manages enough ambiguity and originality to avoid queasiness.

Above all else, this film has the feel of a strange dream, mired in drab shades and an undercurrent of ominous mystery. The camera work is brilliant and, despite awkward moments, the film has the feeling of a deep, cold water reservoir running beneath a landscape familiar and unreal at once.

The Polish brothers are unique film artists, and they've really pushed the envelope here. A fantasy that has points in common with "Wings of Desire," "Northfork" tells the story of a '50s era small town in the middle of nowhere that is two days shy of being inundated and submerged thanks to the U.S. government's desire to make a reservoir on the place where the town stands. It's a wry parable about loss and remembrance, featuring angels, dreams, premonitions, and the most hilarious government reclamation functionaries since "Repo Man." The performances are all outstanding, especially Nolte and Woods. I've noticed in reading down some of the comments that there are people who were offended simply by the fact that the Polish twins use elliptical storytelling tactics, and I want to say, that's one of the things that makes this film so great: its willingness to embrace the mysterious as an aspect of everyday life. David Mullen's cinematography is stunning. Highly recommended; if you've suffered a meaningful personal loss, such as the death of a parent, I would even call this film necessary viewing. - Ray

Like the Polish Brothers' previous films (`Twin Falls Idaho' and `Jackpot'), `Northfork' divides audiences even as it baffles and bewilders them. Many will surely find this film to be slow moving, arty, pretentious and boring, while others will be intrigued by its originality and visionary quality. Either way you slice it, however, `Northfork' is an acquired taste.

It's 1955 and Northfork, a small town on the plains of Montana, is about to be wiped off the face of the earth by a gigantic flood. Only this time the destruction won't be the result of the angry hand of Providence but rather of a dam building project developed and conceived by the government in the name of `progress.' Out of this simple premise, Mark and Michael Polish have crafted an elegy to the past, a tone poem that reflects the deep sadness that comes with change, abandonment and loss. To achieve their effect, the writers have incorporated large doses of Magic Realism (with heavy religious and Biblical overtones) into their narrative. While we observe the harsh realities of people being driven from their homesteads, we are also introduced to a quartet of angels who are searching for one of their number who went missing a number of years earlier. Legend has it that the town of Northfork was originally looked out for by a group of guardian angels and it is from this rather twisted and bent angle that the Polish Brothers have chosen to approach their subject.

`Northfork' is far more about mood, imagery and tone than it is about plot and character development. In fact, the characters themselves – the angels, a caring priest, a dying boy, and a father and son whose job it is to make sure no people are left behind when the land is inundated – are as subdued in tone as the film is as a whole. None of the characters ever speaks above a whisper and each comes across as moody, introspective and stolid. It is in the visuals and in the unhurried, subtle pacing of the narrative that the film achieves its power. The dry barren plains, the weather beaten houses, the violated cemeteries, and the isolated figures of men and buildings placed in stark relief against an imposing horizon – these are the images that seep inexorably into the viewer's subconscious and which make the film a stunning study in melancholy. Let it be noted, however, that there is also a modicum of hope and optimism in the story to help mitigate the sadness.

A number of big name stars have leant their talents to the project, including Nick Nolte, James Woods and Daryl Hannah. Woods, with his straight-faced, deadpan delivery, provides some much needed touches of black humor throughout the otherwise deadly serious work.

`Northfork' definitely requires that you be in a certain mood to appreciate and enjoy it. Hopefully, you'll hit it at just the right moment.

It's a shame this movie is rated PG 13--it is really quite suitable for anyone--though young kids might not follow it too well.

It belongs to that wonderful genre of serio-comic ghost/angel stories that would have to include everything from Capra's "It's A Wonderful Life" to Wenders's "Wings of Desire."

The photography is stunning, the acting first rate, and--wonder of wonders--the tone is uplifting.

My only criticism is that there is not much ambiguity in the film. The two interwoven stories seem intriguingly mysterious at first; but they resolve themselves a little too nicely for my taste. As the director points out in his commentary on the DVD, all the ingredients of Irwin's story are on his bedside table. The symbolism is just a trifle too pat for me.

But what a lark! My favorite scene has to be when the relocation team tries to get breakfast at a diner. This is practically theatrical in its magic--a tour de force of witty acting--subtle, playful, and positively rhythmic--coupled with striking cinematography and an acute eye for the grotesque.

"Northfork" is funny, touching, gorgeous to look at, magical (with the above reservations) and has not one single car-chase.

An easy nine stars.

this is a very special movie, driven by imagery and character rather than by linear action or even plot. Things progress along two lines which eventually converge, that of the dying child cared for by the Father, and the evacuation of the valley. The child, delirious, is pulled back and forth between two realms, while the Father waits upon his dying. Nick Nolte plays this part with enormous sensitivity and restraint. The evacuation teams seem to suggest a parallel to the Biblical flood, and eventually the two lines of action merge into a dream state, as if the flood is waiting for the child, as well. James Woods gives a deceptively simple, finely nuanced performance, providing emotional depth and focus to the story line. The question seems to be, is the flood the waters of life, or the waters of death? Or is it both at the same time? The writers seem to feel that in the final analysis, there is no difference between the two. Rather than leaving one disheartened, this film uplifts.