Crusty character faces past head on in quest for redemption
Felix Bush (Robert Duvall) is the central figure in Aaron Schneider's newly released period piece, Get Low, a film set in Tennessee's Eastern Appalachians during the Great Depression. He's a crusty, shotgun-toting curmudgeon who hunkers down on his 300 acres and chases off the boys who dare to taunt him. Why Bush disdains human company is one of several mysteries that surrounds him.
A crude wooden sign on his property says, No damn trespassers/Beware of mule. And while there is, in fact, a long-eared beast of burden in the stable, intruders would be better advised to beware of the ornery Felix Bush.
The film, which debuted at last year's Toronto International Film Festival, is loosely based on the true story of a bush man who arranged to throw a funeral party for himself while he was still alive. The notion of attending your own funeral is not entirely unheard of—Mark Twain's Tom Sawyer provides a classic chapter as a case in point. And as a motivational strategy, Steven Covey (Seven Habits of Highly Effective People) advocates imagining the eulogies you'd like to hear at your own send-off and living your life accordingly. Not bad advice for any of us.
While Bush contemplates a funeral party with an open mic, he's under no illusion that he'll receive glowing tributes. He's reviled by the locals, but seems oblivious to the fact, or at the very least, eager to live down to their expectations. When the local minister refuses to climb on the living funeral bandwagon, Bush's novel idea appears to be dead in the water. Enter Buddy (Lucas Black), an enterprising young associate at the local funeral parlour, who sees a chance to deliver customer satisfaction. With his boss's eager support, the unlikely wake begins to take shape.
Veteran comic Bill Murray is hilarious as Frank Quinn, the funeral home director whose business is dying. He supplies a steady flow of witticisms delivered in his trademark deadpan style, though the humour is muted enough that his character never becomes a caricature.
As the story unfolds, corners of Bush's life are peeled back. A woman from his past, Mattie Darrow (Sissy Spacek), resurfaces and through her unjaded eyes, the viewer is made aware that Bush wasn't always a social misfit. A black preacher (Bill Cobbs) reveals something of Bush's past generosity. As the narrative moves towards the now highly anticipated social event, it's clear that the story most in need of telling is Felix Bush's own.
The pace of this film is slow at times—even more so in contrast to the steady diet of explosions and car chases typically fed to us by mainstream movies. The full story here, however, is recessed in subtext for those who choose to read it. It's seen in the wistful glances and raw emotion of Spacek's character. It's noticeable in the change of Bush's wardrobe as he migrates back towards civil discourse.
Most of all though, the story is told by Duvall's face with its creases and folds, and its angry and haunted eyes; Bush's character is brought to life in a way that makes most dialogue redundant. There are few actors whose screen presence can dominate a scene without the prop of dialogue—Duvall is one of them.
It is the weight that Bush so visibly carries on his shoulders that will ultimately resonate with viewers. This is a weight that involves coming to terms with your own past, facing your own mortality (to "get low" as the title suggests) and searching for redemption. There's no simplistic resolution to the storyline, but the film's portrayal of the human condition is refreshing in its honesty. Great acting performances and a character-driven story make Get Low a welcome addition to the end of summer film line-up.
I'd rate this offering as three shotguns out of four. Get Low is rated PG in Canada.
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