Rumos Desiguais

This is a film of a rare, intimate perception that is aimed with pinpoint precision at a few unusual characters and the places they inhabit. At first its subjects seem simple, but like many people do, these characters are merely shielding themselves, hesitant to reveal much of their real natures except as as rare gifts in intimate moments. It must have been tremendously challenging to create and portray natural introverts like these characters, but as an introvert myself (I assert that characteristic without any touch of self-disparagement), I found this story rewardingly resonant of my own experience, especially of childhood memories, although indeed my outward circumstances had little in common with this story.

Almost never has any film conveyed a sense and feeling of a few small places so clearly and so effortlessly. We cherished the village in "Local Hero", but Fingerbone is an incomparably more realistic and deftly drawn place (despite occasional overreaching, e.g., the town's name, and a train accident that stretches credulity in more than one way).

For anyone willing to watch, dusk and the blue pre-dawn illuminate and suffuse these characters' lives. Sylvie sits by herself in the "dark", but there are wonderful secrets to discover in places that seem a void to others. Even well-meaning intrusions, like interruptions to meditation, can seem tragic.

Even more distinctly than Forsyth's other work, this film certainly wouldn't appeal to everyone, but it is a beautiful and evocative character study that has the courage to deal with personalities, events and emotions too obscure or inaccessible for most mainstream filmmakers. Forsyth deserves credit for having gotten this made in the first place, as well as for the eclectic perception that gave the film its many unique and worthwhile qualities.

I like Bill Forsyth films and this got good reviews so I decided to watch it. However it is quite slow, and i found it disappointing. It did not hold my attention. The plot and script lacked something. I found it less than credible. If a film is good, I never question credibility - it's not a documentary after all. But when the film is mediocre, then all sorts of things generate questions and make me think, " that would never happen". On a positive note: I thought the start was excellent. I liked that the story was being told by one of the girls. The acting was good. I suppose that it fits the Bill Forsyth criterion of being quirky and different, but it lacks the humour of films like Gregory's Girl and That Sinking Feeling.

Years since I saw it in the moviehouse or video. NOT a comedy in the yuk yuk sense. I only wish I could have been on the set to say, "Bill, Focus more on the girls, not the aunt! You did them both so well!" It was just a question of balance in this absorbing movie. Christine Lahti had such a good, strong performance and Forsyth let her take the movie, or at least gave many viewers the idea that her character's the focus. Stunning scenery, wonderful evocation of family and place, and fascinates with its exploration of watery metaphors for our connection to and removal from people. Very faithful in tone to the book (a must-read by marilyn robinson, BTW), which I read after seeing the movie more than once. I wish I could see it on the big screen again.

I'm biased. I loved this movie. Being Canadian, I identified with the sense of isolation from the world these two women felt. What is wonderful about the story is that Ruthie and Sylvie revel in their isolation; it is exactly what they want. In its way, this is a romance. Two people, each alone, meet and discover one another. I was happy for them.

Two orphaned sisters growing up in a small Northwest mountain town in the 1950s drift apart when the eccentric habits of their itinerant guardian aunt (Christine Lahti) push one to the shelter of social conformity and draw the other outside, to an uncertain but more exciting life apart. The film was sold as another of Bill Forsythe's whimsical comedies, but the humor is overshadowed by the lingering memory of loss and dissatisfaction: a grandfather's tragic death, a mother's lonely suicide, and so forth. Likewise there isn't anything funny about Aunt Sylvie's deeply rooted vagabond instincts (expressed, for once, as something more than merely charming or quaint), which attract the more introverted sister (narrating the details) as strongly as they repel the rest of the community. It's a haunting, almost melancholy film, carefully paced to the rhythms of small town life in hard times, and with a fascinating undercurrent (note the irony of the title) equating the freedom of the open road with the liberation of women from domestic dependency. The final image, after Sylvie has introduced her niece to a life of wanderlust, is enough to lure the hobo out of any viewer.