Tumbledown: Gli imprevisti della vita

Greetings again from the darkness. If I find myself three minutes into a movie and have already executed a couple of eye-rolls, any hopes for a decent little Romantic-Comedy-Drama would ordinarily be dashed. However, having Rebecca Hall's character narrate her writing efforts as she taps away on the keyboard, actually does serve the story. The first feature from director Sean Mewshaw and his screen writing wife Desiree Van Til takes advantage of a beautiful setting, a slew of contrasts, and some heartfelt music to keep us interested in how things plays out.

Ms. Hall plays Hannah, the grieving young widow who has stashed herself away in a lakefront cabin located in the rural Maine community in which she was raised. Her grief remains burdensome some two years after the tragic death of her husband Hunter Miles – a folk singer whose only album (and subsequent death) created a public mystique and a defensiveness on the part of Hannah to protect and control his legacy.

As a Ph.D from Brown, periodic contributor to the local newspaper, and soul mate of Hunter, Hannah undertakes the writing of his biography in the shadow of the studio monument that continues to expand with trinkets left at his gravesite by a cult of fans paying respect. Griffin Dunne plays her friend and owner of the local bookstore and publisher of the newspaper. His less than enthusiastic critique of her early pages of the biography correspond with the vigorous pursuit by a Hofstra Pop Culture Professor with a book publishing deal who wants to make Hunter a key element of his new project.

Jason Sudeikis plays Andrew, and his fast-talking big city mannerisms don't initially mesh so well with the hyper-sensitive and protective grieving widow. The two spar like brother and sister, and the initial adversarial relationship means only one thing in the movie world … romance is in the air. Fortunately, the focus on telling the story of Hunter acts as a form of grief therapy for Hannah and a bit of redemption of spirit for Andrew. Of course, the path to enlightenment is not simple for either. Hannah's "friend with benefits" is a hunky local power company worker played by Joe Manganiello ("True Blood"), and Andrew's big city music industry girlfriend is played by Dianna Agron ("Glee"). But as you would expect, the biggest obstacle faced by the two leads is their own stubbornness.

We learn the most about Andrew and Hannah when they are around others. An Easter luncheon with Hannah's family is especially insightful. Her parents are played by Blythe Danner and Richard Masur, and as viewers we long for more scenes featuring these two characters (and terrific actors). We sense that these parents see right through Andrew and Hannah. Can Hannah let down her guard so that she can move on with life? Can Andrew quell his ambition so that the emotional connection takes place?

Beautifully shot (with British Columbia substituting for Maine), the aspect of nature plays a role in contrasting country girl with city boy, and it's the accidental discovery of a long lost song that highlights the stark difference in motives … while also being the impetus for change. Hunter's original music is heard throughout the film, and it's actually Damien Jurado whose singing and songwriting add an element of intrigue and realism. Hannah, as narrator, states "In the middle, we feel like it's never going to end." While that may be true for many romance movies, the filmmakers here avoid the "too cute" moments that spoil most in this genre … and impressively overcome those early eye-rolls.

Understated, honest and soulfully choreographed. The cast is engaging, authentic and surprisingly interesting even in the most ordinary situations, of which there are few. Grief may be the premise of this film, but the result is a calm escape into a world you'll be happy to spend some time in.

After reading about the film, I did expect an Indie movie with the usual predictable story lines and romantic frou frou, and there is no shortage of that, but there is another layer of depth that caught me off guard. The intimate warmth of the soundtrack, like the weightless smoke of a dying candle in a quiet room, lingers long after the end credits are over. Some of the songs really are beautiful enough to warrant this type of language, trust me. So do the memories of other musicians who left behind their timeless creations along with the shock and mystery of a lifetime cut short. Martyn Bennett and Jeff Buckley, however different the circumstances of their departure, come to mind.

Whenever an Indie movie finds the perfect balance between lighthearted, mainstream entertainment and the relatability of a smaller story and budget, it proofs that a solid Indie production can transcend the restrictions of a genre and touch the audience beyond 90 minutes of entertainment.

I couldn't think of a single studio produced movie in recent months that achieved 'Tumbledown's subtlety and depth with the same simplicity and grace. To proof my point, this movie would work even without the romance and succeed as a relevant reflection on grief and the responsibility of moving on.

I was pleasantly and unexpectedly surprised by this movie. I found it a realistic portrayal of how hard it is to let go of the memory of deep love that is now gone and learning how to move on and sometimes failing and falling down, until suddenly you wake up and life unexpectedly opens up to something new and wonderful. I am surprised by the negative reviews. It is not a romantic comedy or a typical slick, fast paced Hollywood film. But it works as a touching, authentic slice of a life, portraying what loss really looks like and the beauty of love. The music was also really fantastic. A touching little gem.

Reviewing a Nicholas Sparks'-related film is not a happy assignment because of its near-guarantee of maudlin, tear jerking sentiment. Hooray! Because Tumbledown is the anti-Sparks romance, nothing to do with his weepers, in fact a hard-nosed but sympathetic study of Hannah's (Rebecca Hall) writing a biography of her notably- accomplished folk-singer, late husband's short life.

Although this summary might seem Sparksean, it is not that at all. Perhaps the innocence and originality of the production comes from its freshman director, Sean Mewshaw and his collaborating writer, his wife, Desiree Van Til. Both are gifted and devoid of the penchant for cliché so dominant in other romances.

This realist-oriented romance finds Hannah struggling with her writing and her business-associate, a college professor, Andrew (Jason Sudekis). Although a certain element of formula must be present as she insults him regularly (a sure sign they will fall in love), it is 90 min before they kiss—another Hooray! During this first 2/3, most of the dialogue is rapid and sardonic, a sweetness to my word-addicted ears.

Moments occur in this dialogue-driven segment when I am reminded of the early 20th century love of screwball comedic repartee. The rapid fire insults and witticism are nectar to those of us who have grown up on Jud Apatow's romcoms potty humor and pratfalls. While Tumbledown has its moments of pratfalls and excessive dialogue, overall it is balm for the ears, and, given the attractiveness of Hall and Sudekis, a sight for sore eyes.

Because I lived for a year in Northern Maine, I must laud the picture's artists for capturing small town Maine life without parodying its apparent narrowness and gruffness. A warm interior lies at the center of the outwardly hostile natives; it's a warm interior that catches heat from the ubiquitous fireplaces (we had wood stoves). Visitors from the city like Andrew and his girlfriend, Finley (Dianna Agron), may just never qualify for residency the way Hannah does.

This is a cute little movie! Maybe it was a bit to cheesy for a true man I myself am, but I liked it nevertheless. Let me immediately point out what's the best this movie gives: it' chemistry between McDonnell (Sudeikis) and Hannah (Hall). They can be compared to Nicholas Cage and Tea Leoni in The Family Man.

Story itself is predictable. Hannah deals with loss and keeps being trapped in past when a NYC writer arrives and makes her confront herself. The rest I leave to your imagination.

There's a mindset one has to adopt in order to enjoy this movie. This is not about delivering story or even emotion (expect lots of them) - it's about little things which we usually take for granted and realize how important they are once they're gone. Little things which come to life only when somebody comes to our life. Little things we share together. Adopt this mindset and you're going to enjoy this movie as it may bring forth some memories.

Now the soundtrack. Music is almost central to the movie. All the credits for soundtrack go to Damien Jurado. Search him - I'm sure you'll find it very relaxing and nice. His music really helps you to find and reflect upon some precious moments in the movie and in your own life. Since almost entire movie plays in a little, snowy town, movie really blends with the music.

Jason Sudeikis shows some acting skills! He's the main star of the movie - very entertaining and charismatic. Rebecca Hall was a cutie. Together they form a nice couple. Chemistry among them is what gives a reason for adopting mindset mentioned above.

It's never easy to "Turn the page and start a new chapter" as the tag line suggests. It's really not easy to do it only by yourself. I recall what C.S.Lewis once wrote:

"To love at all is to be vulnerable. Love anything and your heart will be wrung and possibly broken. If you want to make sure of keeping it intact you must give it to no one, not even an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements. Lock it up safe in the casket or coffin of your selfishness. But in that casket, safe, dark, motionless, airless, it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable. To love is to be vulnerable."

If you want to see this quote in motion, see this movie.