Libres comme le vent

A Southern woman (excellent Oscar nominee Janet McTeer) leaves an abusive relationship and hits the road with her young daughter (Kimberly J. Brown) looking for the man of her dreams. Of course though McTeer's dreams are foggy and incoherent when it comes to the opposite sex. She has a love affair with a moronic trucker (director Gavin O'Connor), finds friendship with co-worker Jay O. Sanders and dodges advances from old perverted boss Michael J. Pollard. Shades of Martin Scorsese's "Alice Doesn't Live Here Anymore" as this is basically a road trip picture for the fairer sex. McTeer is amazing and totally believable as an American from the wrong side of the tracks (she is a classically-trained Brit in reality). The quirky situations and hilarious moments make up for the picture's helter skelter screenplay and prodding tone. 4 stars out of 5.

British actress Janet McTeer gives a convincing, first-rate performance as a Southern woman and man-lover who can't find a good guy to love. She and her preteen daughter drive from one state to the next, lighting in a motel room somewhere until a local romance blooms--and then high-tailing out of town when it predictably blows up. Soon after arriving in Southern California, McTeer's Mary Jo Walker finds a decent job, begins making friends, and sees her daughter excelling in school for the first time; however, a new relationship with a sexy but volatile trucker may put everything on the rocks. What starts out as a generic road movie--with hints of "Alice Doesn't Live Here Anymore" besides--becomes an absorbing, intimate character portrait. McTeer (who resembles Laurie Metcalf) isn't your typical tramp or "lover of life"; she isn't unstable, and she's a good mother, but what she's trying so hard to get (a husband and a real home) doesn't always respond to her in kind. We see Mary Jo trying her damnedest to make her life work, eventually falling into familiar patterns but this time learning from her mistakes. The finale is rose-colored and probably not credible, but the optimistic nature of Gavin O'Connor's screenplay (co-written with Angela Shelton), as well as his perceptive direction, makes the journey a fun, embraceable ride. **1/2 from ****

Janet McTeer's multi-faceted performance makes this otherwise predictable character study a must-see for serious acting buffs. As a native Southerner, I have suffered through more hideous attempts at Southern accents than I care to remember, but McTeer nails the accent right down to the complicated vowel sounds and makes it seem utterly natural. The story runs out of gas in the final third, and the "Winnebago ex machina" element comes out of left field, but why quibble? McTeer is absolutely phenomenal, bringing far more complexity to the role than is written on the page.

The other review of this film misses the point entirely. There is indeed tension, of the emotional variety, between daughter and mother. The child is the adult and the adult is child-like. One always hopes for the mother to make the right decision, to turn her and her daughter's life around. The performances are of the highest caliber, as is the writing, and the direction complements both beautifully, never getting in the way of the simple story. Watch this with a parent, a son, a daughter...a rewarding viewing experience.

In "Join Together," the Who sang, "It's the singer, not the song/That makes the music move along," and that can be true of certain kinds of movies as well. TUMBLEWEEDS is surely not the first mother/daughter film ever made, even this year. I haven't seen ANYWHERE BUT HERE yet(though the novel it was based on is quite good), but TUMBLEWEEDS distinguishes itself from the crowd by its attention to detail and character, and the performances. Director/co-writer(with ex-wife Angela Shelton) Gavin O'Connor makes San Diego come alive, from the office Mary Jo(Janet McTeer) works in, to the beach, and the small houses she and her daughter Ava(Kimberly Brown) end up living in. And except for perhaps Mary Jo's boss(well-played by Michael J. Pollard), who is a caricature(albeit a funny one), every character here is well drawn. Even Jack(O'Connor), the trucker Mary Jo ends up with in San Diego who later turns bad, is well-drawn; we're never meant to see him as completely bad, though he does have his darker side.

But the real reason to see this is the performances of the two leads. McTeer and Brown are fresh faces to movie audiences, which means they have no image to distract us from the story, but it also means they bring nothing we know from them to the part, so they have to start fresh. And they respond with wonderful and realistic performances. McTeer doesn't turn Mary Jo into the stereotype of an oversexed woman or the insufferably noble mother but as a woman who wants to do right but isn't always sure how. And Brown doesn't make Ava overly cute or precocious, but a recognizable kid who nevertheless has to be the adult at times. The two of them also have a terrific bond together as well, and like a character late in the film they meet, O'Connor the director knows enough not to intrude on that.

One last note; some comments have dismissed this entirely because it's familiar. Are you the same people who will gladly see a hundred SLEEPLESS IN SEATTLE clones or THE MATRIX clones and not complain about them being familiar? As I said at the top, sometimes the telling can distinguish a familiar tale.