Lonesome Jim

You can object to the choice to make this film about a so-called depressive. You can object that Jim doesn't just snap out of it. But of all the things you can say about Lonesome Jim, you can't say it is badly made.

This film is like a meditation: it totally clears the mind of everything else and allows you to focus on what is there in front of you.

The grainy film did not strike me as low quality or cheap. It made the film like watching home movies; there is nothing glamorous about this scene. It was totally in keeping with the theme of muted emotion. The graininess sometimes slows things down so much that the characters appear to be talking through the haze of their dull surroundings, and they are the liveliest things about the situation. It almost transforms film into a cartoon drama by the younger sibling.

Is the main character Jim (Casey Affleck) suffering from depression? Well, alright. But that assessment papers over the interesting sources of the emotion stifling: the relationship between son and parents, and how he has subverted his personality with them; and the relationship he has with the rest of his hometown.

The whole thing is so real – we especially digest meaning during Jim's driving scenes, inevitably at twilight when the post industrial fading rural landscape is at its most evocative, stirring feelings of profound longing and sadness.

(There must be a retrospective of Sensitive Boy flicks somewhere. To my recollection, Ordinary People could be the first in the series, but among the others, and I'm sure there are many, many more than I can think of here, are You Can Count on Me, and Imaginary Heroes. I've also heard that Garden State could be slotted in there, but I haven't seen it.)

This is a brilliant film.

So why not give it 10 out of 10? Because we do not know yet if it will stand the test of time. Already Ordinary People does not pack the same punch as did 20 odd years ago. Also, these films have a relatively small theme. So though while intense and delicate in emotional depiction, their reach is rather narrow and might not possess any universal themes. They are particularly US-centric. Which is fine, but it precludes them from greatness.

This is a great film which superbly walks the balance between bleak and hopeful, without ever becoming annoyingly angst ridden or overtly perky. Mary Kay Place, who has been such a solid supporting performer throughout her career, is Oscar worthy as the ever optimistic mom who shows layers upon layers with the simplest gesture -- a wonderful, comic performance. It would be a true tragedy, however likely it is, if the distributors do not put some muscle into a campaign in her favor. Buscemi's direction and the tightrope walk of a script is captivating throughout. Shot on mini-dv and certainly there have been better shot dv features. Film tends to get real noisy in the darks, and the titles during opening credits break to pixels. Too bad too, because it is unlikely this film will be taken as seriously as it deserves to be because the filmmakers/producers failed to take time/cost to make it right.

Although I agree with many of the people that this was a good movie, I do not necessarily agree that it had a moral, taught a lesson, etc. The script, as economical as it was, was terrific, not to mention hilarious! There is hardly a wasted line, scene, etc. Nobody overacts. The actors simply just do their jobs. Some of the jokes had me laughing out loud at midnight; e.g., when brother #1 says "awesome" upon learning brother #2 has bedded Liv Tyler, #2 thanks him - to which #1 says "No, I'm thinking her standards are so low I've still got a chance".

The movie is chock full of tiny lines of great dialog. Most are not crafted jokes but simply hilarious circumstantially, as when the protagonist comments on the strength of the stoner's weed and - in a casual aside - the stoner says, "Yeah, I put some crack in". Also, our hero so deftly manages to unintentionally insult everyone and everything while spilling his guts; e.g., believing he's offering profound insight into life but instead degrading the existence of his listeners. These asides and conversations, like much of the dialogue, are not stand alone funny but fit in so well to the mood and of the setting. The setting and circumstances - failed dreams in the Heartland - could be milked for much melodramatic value but is well treated here in a matter-of-fact manner. This movie is true farce. I hate to use clichés but Lonesome Jim is the perfect example of "What you see (and hear) is exactly what you get.

Casey Aflleck could easily have played his role as manic or overly deadpan but finds a great balance. Overlooked is his dad's character, who pulls pathos out of middle America. Liv Tyler displays more skill here than in all her minutes in Lord of the Rings combined. And the stoner uncle, without exaggeration could be a candidate for Best supporting actor. But Mary Kay Place steals the show outright. She is the Everymom of all time. I lost my mom last year and my siblings and I can see now that what we interpreted as mom's naive cheerfulness was actually a profound strength. No small feat to create this observation in a movie which, at times, seems almost completely played for laughs. In fact, the uplifting effect of the movie truly appears as almost an afterthought. Creating something out of nothing is the mark of good art.

Annika (Liv Tyler) doesn't like the photo of a dour Ernest Hemingway that Jim (Casey Affleck) has on his bedroom wall. Jim says it's real life. She says it's depressing, and he replies, "Isn't that the same thing?" It's a funny line, but it's also much more. It describes the heart of this terrific new picture directed by Steve Buscemi. He's made a wonderful "small" film about the sadness and disappointment that is so much a part of life, and about how we each must choose to respond. Do we wallow in despair, or can we find hope, joy, and purpose? In "Lonesome Jim," we meet a range of genuine people who exhibit a range of choices -- sometimes conflicting responses within the same character. The casting is superb, and between Buscemi's measured pace and first-time screenwriter Jim Strouse's unpredictable (and semi-autobiographical) story turns, we get to know and care about these people...even though they each exhibit traits we definitely do not like. That's real life.

...a few bright moments to break up the grey times.

It's a fair representation of what so much of the midwest is about: a bit about futility, about a lifeless life, yet still containing a few bright moments. And having hope.

The digital film present a dull grey-red tone to the proceedings...not engaging to the eye but it seemed to fit the mood. The characters, while not sympathetic, were nicely developed. The events, even those seemingly "large" ones, do not develop the magnitude that might be expected. But that's how life usually works.

This is a much better view than the low marks indicate, but it's not great film-making either. It is a good Indie movie, and one that encourages a look at Buscemi's future projects.