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Off The Map

05 Jul

Off The Map – directed by Campbell Scott. Family Drama. 108 minutes Color 2003.

★★★★★

The Story: The difficulties of a family living on the edge at the edge are exacerbated by the arrival of a tax man from the IRS.

~

One of the great actors of my heart is here, and what puts her there and here?

Unforced excellence.

Vladimir Horowitz: forced excellence. Artur Rubenstein: unforced excellence.

Glenn Close: forced excellence. Joan Allen: unforced excellence.

Here she allies with a good script, an unusual story, fine direction, art direction, cast, costuming, filming, and the landscape of northern New Mexico, all of which she fits into with an ease that seems long-standing.

New Mexico is not part of the United States, of course, so who should enter into the world Joan Allen’s character inhabits but the IRS. That world is one she and her husband have forged in a high desert wilderness to live self-sufficiently: no phone, plumbing, electricity, money. They live from barter, cunning, and what they find at the town dump.

They live in a house of their own construction. They live clean and they do just fine.

Outwardly. But inwardly tensions hum – not because of lack of love or the want of an indoor toilet. Their 12 year daughter is itching to split. Their best friend is going to buzz off and get hitched. The father and husband languishes in a six month’s catatonic depression.

Have I told you enough to lure you? A little more may help: the best friend is played by the redoubtable J.K. Simmons, the husband by Sam Elliott, the annoying and resourceful daughter by Valentina de Angelis , and the IRS man by Jim True-Frost, to see whom is to love whom.

True-Frost plays the teacher/cop in The Wire, and it was great to see him play this major and pivotal character who treks in on foot to this remote holding. Of course, the focal character is the mother played by an actress of such genius you don’t even realize she is one.

Her simplicity of detail. Her ability to pay attention without drawing attention to the fact she is doing so. Her bearing inside her personal space, which lends conviction to operating in a way of life her character would be long accustomed to. I list no more. You can find her virtues for yourself as you watch what is, in fact, an ensemble piece.

In aid of which I have to stop here, lest I go on to praise and thus give away the unfolding and nature of this generous and unpredictable story, the aptness of the writing, the understanding of the direction by Campbell Scott, and the enchantment of New Mexico.

Find it. See it. Enjoy the dickens out of it. Let me know how you liked it.

 
 
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