out of The Shining. Carrie. Pet Sematary. Misery. Just mentioning these titles will give most people shudders of horror, remembering the first time they saw them. They will also be able to tell you that master storyteller Stephen King was the influencing force behind all of them. But how many know he also wrote the novel Stand By Me was based on? Or even The Shawshank Redemption? King may not be well known for his more humanized dramas, but Hearts in Atlantis is a heart-wrenching example of King's understanding of the horror within our daily lives.
Unfortunately, Hearts in Atlantis may not work its magic for you. Directed by Scott Hicks, the film manages to move so casually that some viewers may lose interest. For some, its sentimentality may come off as overwhelming. For me, its simple story mixed with gorgeous images of an innocent time lost pulled me in. And how appropriate a time for this film. After the events of September 11, 2001, Americans are feeling unstable and unsafe in an environment they thought would keep them from harm. Such is the same emotional turbulence for children growing up in a world they thought was magical and safe.
Hearts in Atlantis begins in the present, with young Bobby Garfield now an aging photographer (David Morse). With several published books and a thriving photography career, Bobby is enjoying much of his life. But a package delivered to him draws him back to his hometown. He discovers the sad news that his best friend, John "Sully" Sullivan has died in a car accident. After the funeral, he visits the house of his youth, stirring memories long since buried.
Movies that begin like this generally spell disaster. The rare occasion (such as Saving Private Ryan) is usually bookended by maudlin present-day denouements which leave much to be desired. For the first time in years, a film gets it right. Atlantis may be bookended by the present, but those scenes are almost necessary for the emotional closure the film needs. The only flaw is a key character's whereabouts given away far too early. Still, it's a small quibble and doesn't distract from the film's emotional power.
Bobby's 11th birthday marks the last year of his childhood. He didn't receive the Schwinn bicycle he so desired, but instead receives an adult library card. His mother Elizabeth (Hope Davis) says there is no money for that. Bobby's father died leaving a string of debts in his wake, or so he is told. To help cover the costs of a mortgage, Elizabeth rents out her upstairs bedroom. This particular day, Ted Brautigan (Anthony Hopkins) arrives to rent it. Ted will become a temporary father figure for Bobby, who is desperately in need of parental guidance. Ted offers Bobby one dollar a week if he reads the newspaper to him. "That's all?" Bobby inquires, perhaps knowing that isn't all.
So it goes. Bobby reads the paper, Ted shares stories, and they become good friends. Meanwhile, Bobby and his two best friends, Sully (Will Rothhaar) and Carol (Mika Boorem), are dealing with the pressures of childhood, including the neighborhood bully. Carol and Bobby are exploring their budding feelings for each other, including a kiss on a ferris wheel. Ted explains the kiss "will be that by which you judge all other kisses." One day, Ted asks Bobby to watch out for "Low Men," a group of men trying to track him down. In return, Ted not only pays him a dollar a week, but gives him important advice on life.
All of this is handled with care and passion by Hicks, who seems to really care about his characters. From a wonderful screenplay by William Goldman (The Princess Bride), Hicks keeps everything down to earth. Nothing is paraded around for us. Everything happens as it would happen in the real world. There are no surprise revelations, no key plot points, nothing to distract us or pull us out of this simple tale. Instead, he piles on atmosphere, giving the surroundings an ethereal quality. Even a simple "Lost Pet" poster gains an eerie, unsettling significance. The final third of the film is told with such bravura and technical mastery that it is hard to find yourself not swept up in the flow. There is a beautifully tragic scene when Carol is injured by the local bully, at the same time Elizabeth is raped and beaten by her employer. This is Carol's first realization that not everything in the world is nice; meanwhile Elizabeth is probably used to this treatment.
Anthony Hopkins, arguably one of the best actors working today, is at the top of his game here. He gives Ted a worn, humble feel, as if he is tired of running but doesn't want to be caught. Ted is an unusual character and his "gift" is so subtle you might not pick up on it. But this film is not about Ted... it's about Bobby. Anton Yelchin is simply amazing as Bobby, giving a mature and strong performance that some adults can't even achieve. Yelchin creates a likeable character with all the quirks of an 11 year old. He knows his mom lies to him, but he keeps his disappointment hidden from her. Hope Davis is also terrific, making us care for her despite her sometimes questionable actions. The real star, however, is Mika Boorem, who turns in such a powerhouse performance that you might not even notice how good it is. The final scene between her and Yelchin is more tear-jerking than any film all year. Credit Boorem for her understated handling of a strong character. Here is a performance deserving of an Oscar nomination.
Hearts in Atlantis is rated PG-13 for violence and thematic elements. The cinematography is brilliantly captured by Piotr Sobocinski (the film is dedicated to him--he died during filming). The music is appropriate and captures the 50's spirit. But despite the technical prowess, this is purely an actor's film. Thanks to Yelchin and Boorem, we care what happens. Their mature performances keep the film buoyant and interesting. But be warned: take some tissues along for the ride. You'll need them.
| Rating: out of |
© 2001 Boyd Petrie |