Cast:
Laura Linney, Mark Ruffalo, Matthew Broderick, Rory Culkin
Directed by: Kenneth Lonergan Written by: Kenneth Lonergan
"You
Can Count on Me" is a movie about individuals struggling for
answers at the outset and who still struggle for answers at
the conclusion, yet we love them all the more for it.
Set
in the small, fictitious Catskill town of Scottsville, New
York (the real Scottsville sits just south of Rochester),
the story centers around a hard-working single mom named Samantha
Prescott (Laura Linney), who has a habit of mothering not
only her eight year-old son, Rudy (Rory Culkin) but anyone
for whom she holds a certain degree of sympathy. Orphaned
at a young age when her parents were killed in an automobile
accident, Sammy lives a very dedicated, meticulous life on
the outside but seems to have problems sorting out the emotional
debris swirling around on the inside. Her brother, Terry (Mark
Ruffalo) is the opposite. He leads a nomadic life, often marred
by bouts of anger and the lack of a lucid life direction.
When Terry comes home to borrow money, an unforseen circumstance
forces him to stay longer than anticipated. Sammy and Terry's
genuine familial love enables them to stay close despite the
differing views and approaches to their own respective lives.
Eventually, those differences put the relationship onto a
very tenuous line, forcing each into the realization that
the answers they seek are never easily obtained.
The
film was written and directed by Kenneth Lonergan, a veteran
writer who co-authored the screenplay for Harold Ramis' "Analyze
This." He has created a gem of a movie, fairly simple in terms
of plot but more complex with regards to observation of character.
It's about people with complicated emotions but relatively
simple answers to justify the circumstances in which they
find themselves. As opposed to discovering solutions, the
characters ultimately come to the conclusion that they simply
don't have all the answers; a notion that can be both unsettling
and peaceful at the same time.
The
screenplay contains dialogue that is abundantly funny, unquestionably
real, and subtly perceptive all at once. I liked the scene
when Sammy and Terry first sit down to eat upon his arrival.
She asks how he is, to which he evasively shrugs his shoulders.
He asks how his nephew is doing. "We're fine." she replies
in a manner that distinctively accentuates the period at the
end of that sentence. We see from this exchange how the "roles"
they've become accustomed to playing can interfere with their
own ability to reach out; Sammy as the overprotective sibling,
Terry as the shiftless little brother. I also enjoyed the
exchanges between Sammy and her church's priest. Feeling a
need to be chastised, Sammy confesses to him some of her sins,
most notably the ongoing affair with her married boss. However,
the priest isn't a judgmental man, but a very compassionate
soul eager to help people through the most difficult times.
"What's the church's position on infidelity these days?" Sammy
inquires. "Shouldn't you tell me I'm a bad person who'll rot
in the flames of hell for eternity or something?" He answers
with a simple "well," a very humorous lilt in his voice. "Why
do you think you're in the situation you're in?" he subsequently
asks, his need to offer assistance greatly outweighing any
need to judge.
This
is Laura Linney's best role to date. Having appeared in several
films including "Primal Fear", "Congo", and as Jim Carrey's
phony television wife in "The Truman Show", she brilliantly
plays up the humorous elements of Lonergan's dialogue while
simultaneously conveying her character's unsettling insecurity
building beneath the surface. Accomplished stage actor Mark
Ruffalo is equally effective as an aimless soul who somehow
remains consistently lovable. The interactions between Terry
and his nephew are the most revealing, showing his inability
to behave responsibly as a guardian. Terry's responses to
the world around him are at times more juvenile than an eight
year-old.
Unlike
conventional storytelling, there doesn't exist a beginning,
middle, and an end here. Instead, what eminates from the screen
is a simple slice of life. The movie's best moment comes when
Sammy and Terry share a moment on a lonely park bench. The
traits that define them haven't changed much, but the realization
strikes that the lives they'd perhaps hoped for will unfortunately
continue to elude them. A sad notion, but familiar to anyone
who has loved someone they didn't completely understand. While
many films battle to gain the attention of the viewer, "You
Can Count on Me" successfully taps into the deepest longings
of the human condition.
Copyright
2001 Michael Brendan McLarney
Critically
Ill
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