Hal Hartley's "Henry Fool" is that great work of fiction, one that many people spend their whole lives trying to create. There are literary allusions abound; characters come, go, and return all over again in the most unusual or unexpected ways; and above all, it doesn't tell us anything more about its characters than we need to know. We enter their world, witness their sometimes bizarre actions, and learn to accept those actions, just as the characters themselves eventually accept each other.
It's also about the art of fiction; or rather, writing. I've heard someone say before that all stories follow the same essential pattern: a strange someone, or something, comes to a town or any place, and brings unprecedented change. As vague as that sounds, I couldn't help but think about that concept as the titular character (portrayed by the absolutely unforgettable Thomas Jay Ryan) walks down the street, carrying a briefcase and a cigarette plastered to his mouth, ready for action, in perhaps one of the most memorable character entrances of any movie. "Get up off your knees," he says to James Urbaniak, reflecting the entire film: every character will be taking a stand in some way, somehow.
As he moves into the Grim household, setting down his mysterious "confession" notebooks and searching the fridge for donuts, he gives the static, unassuming garbageman Simon Grim (Urbaniak) some witticism, a notebook, and a pencil, telling him to write whenever he feels like it. He does, and everyone who reads his writing elicits a variety of strong reactions. Parker Posey, who plays Simon's sister Fay, is her usual bitchy self, but this is one of her best roles, as she lets her Southern tinged voice to gain full power and plays a sexpot to great comedic heights.
The splendor of "Henry Fool" is the deadpan dialogue and the soaring musical score, even going so far as to work together: the piano chimes continuously add an extra punchline to Fool's hysterical, decidedly spoken intellectual ramblings. And when Fool wants to go to a club and party, the music lets him party, as he freaks with two strippers in a hilariously awkward, unexpected scene.
At times, the film seems too long, running about 2 hours and 20 minutes; but the final half hour makes it all worthwhile, bookending all the scenes beforehand and leaving the viewer with a comfortably ambiguous, much-debated ending. Anyone can have their own interpretation of this movie, and to point out any flaws with it is missing the point; it shows an alternate reality that can only exist in the realms of independent cinema. And undoubtedly one of the best.
Grade: A
