A Incrível Verdade

Audry (Adrienne Shelly) is a brainy and beautiful girl living in Long Island. She has just been accepted to Harvard, no less, but has to bargain with her father about attending the famous school. She is just turning 18 and wants to major in literature. Father insists on her getting a part time job and choosing to study communications. At this moment on LI, also, a convicted man has just returned to his home turf. His name is Josh and no one is sure what he did, but it seems that he killed two or more people. Audry has a chance meeting with him and is smitten. She even gets him a job at her father's automobile shop. How in the world is this a match made in heaven? No description is really adequate to relate the events in this film. Rather than plot driven, it is a quirky, intelligent film where conversation and the unexpected reign mightily. The script is just stunning. Where else, I might suggest, can you view a film that offers explanations on the merits of Moliere's Misanthrope and the workings of a car's transmission apparatus? All of the actors, the costumes, the look, and the direction of the film are very, very worthy, too. (Sadly, Ms. Shelly was murdered in 2006 in NYC). There is a smattering of bad language and the subject matter is adult, so the movie is not suitable for an underage audience. Nevertheless, if you definitely want to take a walk down the aisle of vintage, independent films, pick this one up without delay. It is a gem, even years after its creation.

What we have here is an indie romantic comedy, adorably done. Adrienne Shelly, who is petite and cute and pale as winter snow, stars as Audrey Hugo, a mechanic's daughter who has been accepted at Harvard (or so she says) but has no intention of going. She is obsessed with what she sees as the inevitability of nuclear war and attendant horrors, which she reads about aloud to herself and anyone who will listen.

It is 1988 and this is Long Island, New York, although it looks a lot like Jersey to me. Certainly this is not the high rent district of Long Island. Her boyfriend is shallow and doesn't listen to her. Her father thinks she ought to go to the local community college which he notes is a whole lot cheaper than Harvard. She is bored with her senior year at high school and usually cuts.

Enter tall, handsome, dressed all in black Robert Burke as Josh Hutton just released from prison. People who meet him ask, "Are you a priest?" He answers, "I'm a mechanic." And indeed he is an especially wondrous one who, of course, goes to work for Audrey's father, Vic Hugo (Chris Cooke) and becomes invaluable. Although it seems that Josh killed a girl and then the girl's father some years ago, we of course know from the title and from Josh's obviously sterling character that the "unbelievable truth" must be otherwise. And of course so does Audrey who is immediately smitten with him. But Josh is apparently practicing something like celibacy ("Are you a priest?") and rebuffs Audrey's advances, thereby initiating a whole slew of romantic misunderstandings wittily tossed about by director Hal Hartley along with some spiffy Mamet-like dialogue.

Now enter a photographer who makes Audrey into a fashion model, first her feet, but eventually the entire petite torso. Physically she moves to New York City, but her heart is still with Josh at her dad's auto repair shop. She even carries Josh's wrench in her handbag, with which she threatens the photo guy when he tries to get too close.

What makes this film a delight in spite of all the obvious elements and the predictable complications is the original, independent and sparkling character of Audrey, the true blue integrity of Josh, some clever and funny dialogue, and a kind of warm puppy feel usually the signature property of a Nora Ephron film starring Meg Ryan.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Mind you, it's a wafer thin storyline. A heart-warming little story of an ex-convict returning to a city, and the infatuation of the local Lolita has for him, it touches you, ever so softly, from behind the facade of the boisterous small town existence and the foibles of the small group of townspeople who form the nucleus of the story. At the end of it, you're glad you sat down to watch it - it's a laid-back mind-soother, which leaves you with a warm feeling all over.

What elevates the film by several rungs is, however, the superb performance of Robert Burke as the mercurial, unpredictable and enigmatic Joshua Hutton, who leaves you ambivalent about his real intentions till the very end, when all is revealed. Supporting him, ably, is the petite Adrienne Shelly, who may not be strictly pretty, but has an elfin charm - not really a little girl any more, but not yet a woman. They complement each other perfectly, and it is this chemistry that makes the film glow, and forms the perfect foil to the humdrum backdrop of everything else that is going on.

It's rewarding, and relaxing, viewing - a perfect de-stresser, if there ever was one. If you can get hold of a copy, hold on, tight.

Clever Indy film-making at it's best!!! This film jump started a genre. Hal Hartley's masterpiece brims with clever dialogue and funny performances. Adrianne Shelley is a standout as Audrey who is convinced that the world is soon to blow up. Chris Cooke should be getting a lot more work after his winning performance as Vic Hugo. He's a delight to watch as his daughter Audrey bargains with him on about going to college. And Robert Burke is great as the quiet Josh, the returning man with a past. You catch something new every time with this film ... like the funny way everyone fights in the movie (elaborate pushing matches). An original film and thoroughly enjoyable. Great soundtrack too ... under Hal Hartley's alias of Ned Rifle. Highly recommended ... and definitely more than worth than 50¢ at your video rental and won't put you to sleep if you like original, clever, landmark Indy films like this one is.

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.

Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)

As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.

The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).

Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.