Signs of Life

A boat builder in a sleepy town in Maine is going out of business, and the lives of all of the (soon to be ex-)workers and families are disrupted. The biggest disappointment is that the two stars--Bates and Bridges--have only bit parts.

Interesting, but not something you would see twice.

This unassuming sleeper is being sold as an inspirational 'feel good' movie because of a minor miracle tacked awkwardly onto the final scenes, but the film is more about those moments of transition in our lives when anything can happen, tracing 24 fateful hours in the life (and death) of an old New England shipyard facing imminent closure. It's the sort of small town, ensemble character drama where the writing and acting are more than usually critical, and (fortunately) this one has both: an original, unpredictable script and a strong cast led by veteran Arthur Kennedy, still a tough bird at age 75. Under John David Coles' direction the film is delicate but never fragile, sensitive but never sentimental, and whimsical without ever losing its grip on reality. Because it doesn't call much attention to itself some word of mouth would clearly have helped the film reach an audience but, considering the throwaway release it received, viewers today will have a difficult time tracking it down

In one sense, "Signs of Life" is a fantasy, full of vibrant photography and off-center characterizations. But it is also grounded in a dramatic sense, with a collection of fantastic actors all providing convincing performances. Aging shipbuilder Owen Coughlin (Arthur Kennedy) is the central focus of the ensemble cast. Every character, regardless of minimal screen-time, feels perfectly fleshed out. It was a real pleasure to watch Vincent D'Onofrio, Beau Bridges and Mary-Louise Parker especially.

"Signs of Life" is a collection of individual short stories, all weaving together to make a surprisingly coherent whole. Mark Malone's script is brilliant in how it manages this without losing interest. But it's entirely possible that an even better film could exist based solely around the Kennedy character. The dialogue really lets you get under the skin to the real human sides of these people. Two elements of the production stand out specifically well. The soundtrack by Howard Shore is understated and engaging. Elliot Davis photographs the film perfectly, using color and light in fascinating and revelatory ways scene after scene. And the direction by John David Coles is also good, giving the right balance to both fantasy and reality.

There's always more than enough to keep the viewer interested, fascinating, and entertained. Something about "Signs of Life" really moved me. I hope it will do the same for you.

I saw this movie on PBS the first time. Then I bought the video and watched it countless times. Every time I watch it, I can get something else out of it. It's a real testament to wanting to hold onto a life that was good, but now the world is changing. But you don't have to be older to hold onto the past, even the young characters, like Charlotte don't want things to change. The overall tone and mood is excellent. The cast is outstanding with all-stars like Kathy Bates, Beau Bridges and Arthur Kennedy. And its fun to see the upcoming stars before they hit more recognizable feature films, like Kevin J. O'Connor (The Mummy) and Vincent D'Onofrio (Men in Black and Law & Order: Criminal Intent-one of my favorite shows). Its just one of those movies that stays with you.

When it seems imminent that a small boat-building company is closing down in a sleepy Maine town, it affects the lives of the key personnel and those linked to them in different ways.

"Signs of Life" (1989) is worth seeing for the scenic setting of coastal Maine, as well as catching Vincent D'Onofrio and Mary-Louise Parker when they were young and relatively unknown. Several other notables are on hand, like Kevin J. O'Connor, Beau Bridges and Arthur Kennedy. The latter plays a cantankerous 66 years-old man, but easily looks ten years older (he was 74 during shooting and this was his last film).

Some parts are too draggy, but there's enough interesting things going on in the intersecting stories to keep interest, along with some quality droll amusement. I like how the flick leads you to think something is going to happen, but pulls the rug out from under you.

It runs 1 hour, 30 minutes, and was shot at various locations near the central coast of Maine (Thomaston, Stonington, South Bristol and Ellsworth), except for one short underwater sequence done at Mystic Marine Aquarium in Connecticut.

GRADE: B-