The Walker

THE WALKER (defined as a man who escorts rich ladies around town in their leisure) is both a pungent political comment and a fine mystery from Paul Schrader who both wrote and directed this smart film and had the good fortune to surround his tale with a fine cast of actors. It may not be a film for everyone, but it will satisfy viewers who tire of superficial fluff films, allowing time to ponder the way we live and converse today.

Carter Page III (Woody Harelson in one of his finest performances) is an openly gay, well- heeled, dapper man about town who devotes his life to pleasing the wealthy wives of men in high government levels in Washington, DC. Together with Abby (Lily Tomlin), Natalie (Lauren Bacall), Chrissy (Mary Beth Hurt), and Lynn (Kristin Scott Thomas) the group gossips, plays canasta in an expensive hotel parlor, and confides secrets that are surefire rumor fodder. Lynn is escorted by Carter to her lover's home for a tryst only to find the lover murdered. Carter attempts to protect Lynn from scandal only to become implicated himself. Carter discovers secrets about his own insecurities, and while he is solidly supported by his lover Emek (the excellent Moritz Bleibtreu), an artist of strange works that prove subtle background connotations of the mystery that is unwinding, he must face the realities of his decision when confronting husbands, lawyers, police, and intelligence agents (portrayed by such fine actors as Ned Beatty, Willem Defoe, William Hope and Geff Francis). The story is, in many ways, an examination of the corruption in Washington, DC - a fact that may explain why it did not enjoy a long theater run.

For viewers who appreciate fine dialogue and a smart story with well-delineated characters portrayed by superb actors, this is a film that should not be neglected. Grady Harp

Great script, direction and acting.

The pacing is deliberate as character development (and exposition) is so key to the story. On the other hand, the last few scenes of the film seem a bit rushed as the main source of dramatic tension is resolved somewhat abruptly.

Overall a strong film, with standout performances from Harrelson, Bacall, Scott-Thomas, and Bleibtreu.

On a more personal note ...

I screened this at the Toronto International Film Festival as it premiered at Roy Thomson Hall. There was a projection problem midway into the film, caused by a bad splice. An intermission was announced to give the technical team sufficient time to re-splice the film.

During this intermission, which ended up stretching to nearly 45 minutes, Mr. Schrader and Ms. Bacall took the stage and entertained the audience with a far-ranging and candid Q & A session. This was a very generous and gracious gesture, and very much appreciated.

It was a real treat to see Ms. Bacall in this film and at the premiere. She is a legend many times over, and 60+ years into her storied career, she continues to exude class, strength and glamour. They don't make stars like this anymore, and we are the poorer for it.

This film is about a male escort getting involved in a murder investigation that happened in the circle of powerful men's wives.

I thought "The Walker" would be thrilling and engaging, but I was so wrong. The pacing is painfully and excruciatingly slow, that even after 40 minutes of the film nothing happens much. Seriously, the first hour could be condensed into ten minutes. That's how slow it is.

The fact that it lacks any thrills or action scenes aggravates the boredom. It's almost shocking that even argument scenes are so plain and devoid of emotion. Maybe it is because of the stiff upper lip of the higher social class?

It's sad that "The Walker" becomes such a boring mess, despite such a strong cast. Blame it on the poor plot and even worse pacing.

"Whoever has looked deeply into the world might well guess what wisdom lies in the superficiality of men," is a quotation attributed to Nietzsche. The first half of The Walker could be said to demonstrate such a principle, particularly the mien of its chief protagonist, Carter Page III (flawlessly played by Woody Harrelson). Yet the second half would give that observation an altogether more cynical meaning. One appropriate to the very men that Page despises.

Page exhibits the exquisite superficiality ("I'm not naïve: I'm superficial") so often associated with camp intellectuals (as well as a capacity for self-adulation). We first meet him during an opening panning shot that examines the luxurious wall fabrics in the room where several voices can be heard. Wall furnishings are something that Page III can associate with. Both in a literal aesthetic sense, and also as a man that is walled in by the societal prejudices against his homosexuality. One step removed from the visceral world of those who can openly admit their true feelings, Page III examines the details of everyday life with dispassion and critical elegance. But when his friend Lynn Lockner (wife of a liberal senator) discovers a murder, he is torn between two paths, both equally morally repugnant.

While not quite a saint, Page III has a much higher sense of decency than the political connivers and sexually bigoted people that surround him. These people use superficial appearances to make money, win office, or rise at any cost. Their 'wisdom' is simply that of the top dog – having torn and bloodied anyone who stood in their way.

Bacall, instantly recognisable by her charismatic voice, is the perfect foil for Page's charm and mendacity. Quick-witted, she reminds us of her early characters in films like To Have and Have Not and Key Largo. "You were just a young slip of a girl, not the beautiful woman you are now," says Page. "Cut the sh*t!" she replies, without for a minute losing her majestic gravitas.

Page is a 'Walker' – although working one day a week in a real estate office, his main income is comes from when he "walks rich women from place to place." The term was coined for Jerry Zipkin, who was Nancy Reagan's 'walker'. His duties include amusing gossip, taking Lynn to the opera and a weekly game of canasta. Immaculately dressed and coiffured, he inhabits the world of the unostentatiously rich without ever becoming a main player. His father was a respected governor and his father before him a successful businessman ("My grandfather always talked like a man with a bible half-open in his head."). He is gay, and therefore not a threat. And he is well-read, well-bred, and a delightful conversationalist.

Yet although Harrelson stars in every scene, The Walker succeeds very much as an ensemble piece. Bacall and Kristin Scott Thomas have a fair share of excellent lines. "Memory is a very unreliable organ," says Bacall: "It's right up there with the penis." Kristin Scott Thomas also gives Page a fair run for his money. When he says dismissively in a conversation that, "it's just sex," she retorts with, "And that stuff you're breathing is just oxygen!" Page has an unlikely lover in the form of Emek Yoglu, a German-Turkish artist whose photography is too politically loaded for Page's tastes. But the main man in Page's life is his dead father, who symbolises both the success Page III has never achieved and perhaps moral double-standards that he loathes. Yet at the same time Page himself leads a life a double-life, not out of choice but because it is forced on him.

Writer/director Paul Schrader picked Washington DC as the setting for the film because of "the deep hypocrisy of the town, Washington and Salt lake City are two of the last cities in America where sexual hypocrisy is mandated, and here is a character living a false and superficial life, so it seemed an ideal place for it." It is one of Schrader's best scripts (apart from a few unlikely coincidences to move the plot along) and the performances are perfect. The lush cinematography sucks us into the world of the rich and stylish (with Bryan Ferry songs to assure us it's OK) so that 'reality' – in the form of murder most foul – is all the more unsettling. Only as the authorities brazenly attempt to implicate Page do some of his hairs come out of place. "This is a mean crowd, this administration," he admits falteringly. (Lynn calls them 'the cave dwellers'). They can't catch him for what he hasn't done so they'll find something else. "It's perjury that catches people out," the investigator says to him (with shades of Clinton witch-hunting).

The loner-whose-world-crumbles-around him is a favourite premise for Schrader and the subtle political complexities are home territory for Harrelson, who is no stranger to such themes in films such as North Country, Wag the Dog, Welcome to Sarajevo and The People vs. Larry Flynt. But the film's weakness is its constant subtlety. We are expected to be fascinated by the undercurrents, the hidden cards – so much so that some audiences may switch off. The Walker is clever and perfectly executed but, like its subject matter, is a superficial observer of the dilemmas it grapples with at arm's length.

Perhaps such prominence of aesthetics over substance is the way to provoke discussion of the problems dealt with so obtusely. "I think film is a great medium to be able to discuss such issues," says Kristin Scott Thomas. "Although politics changes very rapidly, it also repeats itself over and over in a different context. When you see films that are making a comment about the political situation of a certain time and then you see another film thirty years later and you have the same kind of issue, it creates discussion and that is very important."

Harrelson is Carter Page III. Unfortunate son of a great man, fortunate son of a dynasty of plantation owners; what does he do? He spends a day a week as a real estate agent and fails to chase up a gallery opening for his lover's photography. What he really does is move with grace through the social circles of the Washington wives. All is well, passing off lines of Tennessee Williams and playing canasta, until by chance he is dragged into a murder investigation. Forced, in his own words, into a choice between "being disloyal and being dishonest" the film follows Carter's progress as events take him into murkier waters where it is no longer enough just to smile at the chaos and hope that it will pass.

In Schrader's script the dialogue crackles, for the most part, and the narrative is traced out with skill. The film does not aspire to the pace of a thriller but achieves a constant tension. Harrelson's performance is magnificent and he is ably supported by Bacall, Scott-Thomas and a sphinx like Geff Francis as the detective on the case.

'The Walker' is not a genre film and may disappoint those looking for a ripping yarn about a murder, but judged on its own terms it is a success. There are off notes; moments of dialogue strike as contrived and some imagery is unsubtle, but all said it is engrossing and like all really good cinema there can be no doubt that it is about something important.