Alas, this summer’s movies proved to be uncannily similar to this season’s global climate: overheated and at times, long and unbearable. For every intriguing, rare gem that did shine through (i.e. “Inception” and “Scott Pilgrim vs. the World”), dozens of others established again why discerning film aficionados hold out for the autumn and winter’s slate of movies. This year, the gift of Fall came slightly earlier than usual in the form of director Aaron Schneider’s debut feature, “Get Low.”
“Get Low” is inspired by the true story of cantankerous recluse Felix Bush (Robert Duvall) who in 1938 Roane County, Tennessee, decided his time to “get low”- in the ground, that is–was swiftly approaching, and chose to throw himself the first, and possibly only, living funeral. His cause is taken up by the town’s entrepreneurial funeral director–the inimitable Bill Murray–and his idealistic protégé (Lucas Black). Others, such as his former friends Mattie Darrow (Sissy Spacek) and the Reverend Charlie Jackson (Bill Cobbs) question his intentions.
The screenplay, written by Chris Provenzano (TV’s “Mad Men”)and C. Gaby Mitchell (“Blood Diamond”) takes a relatively generic and straightforward human-interest story and imbues Felix’s tale with a mysterious foreboding juxtaposed with a strong pathos. Filmmaker Schneider, expertly aided by cinematographer David Boyd (TV’s “Deadwood”) paints with a visual authenticity and understands the value of allowing the veteran actors to convey their sparse dialogue with a dearth of camera movement.
“Get Low,” being an “actors’ film,” highlights the real stars of film: the actors. Duvall, always a pleasure to watch no matter what, owns the character of Felix completely and as the movie unfolds, the audience is privy to watching the man’s complex layers unravel to portray a distinct, and fallible, human being. The other cast members (particularly the fierce and radiant Spacek) all have their moments to shine, but Murray, ever the spotlight hermit himself, steps up once again in a rare dramatic role to imbue it with a genuine poignancy.
“Get Low” signals the end of a dismal summer. Though the film tends to get a bit treacly towards its conclusion, this long-gestating labor of love defines the motivations behind humanity’s elusive determination, and what needs to be done before “getting low.” A-