March 30. 2009
Watched Stranger than Fiction again tonight, and I was happy to discover that it was as good on the second viewing and in company as it was on the first and alone.
The plot is a bit hard to describe without ruining it all, as discovering what the hell is going on is one of the movie’s main selling points. Briefly, though, it can be summed up by mentioning that the IRS agent Harold Crick (Will Ferrell), a stupefyingly dull man, one day wakes up to find that a female voice with a British accent is commenting on nearly his every action. Hilarity, of course, ensues, as Crick attempts to find out what is happening to him.
I’m normally not a big fan of Will Ferrell. Usually I tend to lump him in a group with Steve Carell, Jack Black and similar actors who typically just annoy me. I often include Jim Carrey in this group too, when I forget his roles in movies like The Truman Show, Man on the Moon and Eternal Sunshine of the Spotless Mind (just to mention a few of the ones I can remember having actually watched). Why am I rambling on about this? Because Stranger… is Will Ferrell’s Eternal Sunshine… He displays a range here the like of which I honestly didn’t believe him capable of, and while he isn’t always the paragon of dramatic potatoes, he is never worse than mediocre, and his mediocre scenes are few and far between. Far from his normal screwball roles, Ferrell here executes a sensitive portrayal of Harold Crick. He is still allowed to play on his more typical hysterical reportoire — after all, what happens to Crick would drive anybody at least a little bit crazy — but for the most part he does his thing in a very touching, lo-fi manner.
Emma Thompson, Dustin Hoffman and Maggie Gyllenhaal all do their part to elevate this movie beyond the merely “good” — perhaps especially Thompson — but it is Ferrell who stands out the most.
The movie’s story is furthermore one of the most literary ones I know of. Its use of foreshadowing is quite good most of the time and exquisite at others; the use of a meta-narrator is a stroke of genious; and the comedy elements fittingly downplayed but nonetheless hilarious from time to time — although I cannot stress enough that this isn’t a traditional laugh-out-loud comedy, no matter what the publishers’ propaganda would have you believe.
Finally, while the move’s morale, or whatever you want to call it — perhaps “its didactic element” sounds less old fashioned and reactionary? — is quite banal, it is delightfully so, and… well, I was just about to spoil the end, so let’s suffice to say that the end will have any normally emphatic person close to tears. Or perhaps that’s just me being not normally but rather pathetically emphatic? What else can I say, but watch the movie and find out!
All in all, I cannot honestly think of anything to deduct this movie any points for. However, my critical sense may have been blunted more than usual by the sheer quirkyness of the movie, and I do seem to remember something about it being a tiny tad slow during the middle parts. So it’ll have to content itself with a lousy 9.5 out of 10.
Oh, and if you’re ever unlucky enough to encounter a Norwegian copy of the DVD of this thing, remember not to read the promotional plot summary on the back, as it pretty much spoils the whole damn story. (I’ve blackened it out with a black magic marker like some other CIA document, myself.)