The Visitor

A genuinely unexpected gem. As he proved with his first film as a director and screenwriter, 2003's "The Station Agent", Thomas McCarthy knows how to convey the fine line between solitude and loneliness in his characters' lives with an emotional preciseness that doesn't call attention to itself. It's not surprising that McCarthy is an actor because he's able to capture the very subtle nuances in behavior in actors that make his work feel like Edward Hopper paintings come to life. As a result, you pay attention to a simple gesture, a passing glance, a resigned sigh. This time, his protagonist is Walter Vale, an enervated, middle-aged economics professor at a Connecticut college. Widowed and wholly lacking in professional motivation, he begrudgingly accepts an assignment to go to an academic conference at NYU and present a paper on globalization he really didn't write.

Coming back to a Greenwich Village flat he rarely uses, he is surprised to find a couple living there. Not squatters but unfortunate victims of a rental scam, they turn out to be illegal aliens, a Syrian percussionist named Tarek and his girlfriend Zainab, a Senegalese who makes and sells handcrafted jewelry. As withdrawn from life as Walter is, he slowly finds himself bonding with the couple and lets them stay indefinitely. Zainab is slow to trust Walter, but Tarek and Walter become close over a mutual love of African drums. As his wife was a famous classical pianist, Walter had been futilely attempting to find musical inspiration since her death. However, just as this charming tale of world harmony plays out, it comes back to harsh reality when Tarek is arrested and taken to a detention center in Queens for deportation. What McCarthy does from this point forward is show how sadly restrictive the post-9/11 environment has made immigration laws and how there is no recourse to be found under the constant surveillance of a bureaucratic government protected by the latitude of the Patriot Act.

None of this is hit over our heads with a politically motivated sledgehammer. Far from such polemics, the story singularly focuses on Walter's emergence of purpose in helping Tarek. When Tarek's mother Mouna arrives from Detroit, McCarthy adeptly shows how Walter's closeness to Tarek translates without condition to her. It's a moving transformation of a formerly lonely man finding intimacy in the most unlikely situation. In a once-in-a-lifetime role, character actor Richard Jenkins brings heart and soul to Walter in the most economical manner. Best known as the ghostly father in HBO's "Six Feet Under", he has worked steadily in films for three decades, his most memorable turn being the gay FBI agent high on heroin in David O. Russell's "Flirting with Disaster". With his constant look of resignation on the verge of revelation, Jenkins gives a wondrously poignant, often dryly funny performance that deepens as the story evolves.

Haaz Sleiman and Danai Gurira are terrifically winning as Tarek and Zainab, and they make their bonding with Walter more than credible. As Mouna, Hiam Abbass is no stranger to persevering maternal roles as she brought her particular brand of strength to Hany-Abu Assad's controversial "Palestine Now" and Eran Riklis' family dramedy, "The Syrian Bride". In response to Walter's fumbling overtures, she affectingly conveys her character's resolute stillness and gradual blossoming. There are brief cameos by comic actor Richard Kind as Walter's unctuous neighbor, Deborah Rush as a wealthy and ignorant customer of Zainab's, and Broadway legend Marian Seldes as Walter's failed piano teacher. At first, I thought the film's title was blandly generic in describing those who are here from other lands, but I realize now that the visitor is really Walter as he discovers his soul. The last shot is memorable and captures the fury of his passion with potent force. Strongly recommended.

Mr. McCarthy's film seems to be working at several levels, a main one being the character development of Walter Vale, and another the effects of blind bureaucracy upon the human spirit.

It was interesting to see Vale's callous attitude toward one of his students early on when the lad was late turning in a class paper. The student's reason: some serious personal issues. Did the professor show any extra understanding or compassion for the young man? No; the paper was late and therefore simply unacceptable.

Yet when Vale wanted information and understanding later on at the immigration department when making inquiry about the deportation of Tarek Kahlel, what did he do but blatantly rant about how insensitive and unimpassioned was the system. This, after he'd previously witnessed a similar situation at the front desk with another frustrated inquirer.

What's the country to do, having immigration regulations in place: excuse and make special exceptions for certain illegal aliens? As Vale showed no interest in learning about his student's situation, he yet expected the immigration department to bend to his personal demands.

Vale was certainly a pathetic prof, drifting through life without energy or passion. His encounter with Tarek and his wife and mother all seemed rather arbitrary, allowing these relationships to become his interest, for lack of a better direction. Personally, I felt sorry for this glum character, yet mindful that the death of a spouse can cause some derailment in direction.

The cast was uniformly fine, with special kudos to Richard Jenkins and Haaz Sleiman.

Thomas McCarthy's 2nd film after the wonderful "Station Agent" is equally good, if not better. I can't recommend Richard Jenkins' performance any higher here. He plays a widowed professor who is drifting through life rather aimlessly until he visits his New York apartment and finds there are two people squatting there. I won't give away anything else, except to say that it'll be a shame if this film flies under the radar. Jenkins is a character actor that everyone recognizes, but that few of us know. Here he occupies the first third of the film practically alone, and reminds us in moments of the Jack Nicholson character from "About Schmidt" with his dry humor that is on display for his crabby piano teacher.

Don't you just love watching an actor up there alone who keeps you spellbound in a subtle way? That's how this movie starts, and gradually we come to meet the couple in Jenkins' apartment, and the mother of one of them. The movie flows economically and with much care, but by the end it creeps up on us and makes us feel glad along the way as well as making us pause and reflect on the state of our world.

Lovely, lovely movie.

I saw this film at Sundance (along with about twenty others). It was the only film I screened that ended with a standing ovation. The accolade was well-deserved. Richard Jenkins completely inhabits the professor, Walter Vale, unmoored by the death of his wife. Drifting, without purpose, grinding through his days, he thinks his life is over -- he is just taking up space. But when that space is invaded by a vibrant couple, Walter has an epiphany.

Richard Jenkins is not the only actor of note in this cast. Everyone is pitch-perfect. But particularly be on the lookout for Hiam Abbass. Every time she is on the screen is a delight. This is one of those rare films that you really do not want to end.

It would be easy to pigeon-hole this film as a topical drama dealing with an uncaring government system. But this film transcends all that. Instead it is a heartfelt film about what happens when people -- with all their desires and difficulties -- bump into one another to express the best part of their humanity. If this is the kind of movie you would like to see made more frequently in Hollywood, vote with your wallet this weekend, then go again and take some friends.

Thomas McCarthy's follow-up to the enchanting "The Station Agent" (2003) is another contemplative drama filled with subtle humor and a lot of humanity/passion for its characters. Walter (Richard Jenkins, "Six Feet Under") is a widowed college professor that meets two illegal immigrants - a Senegalese woman (Danai Gurira) and a Syrian man, Tarek (Haaz Sleiman) -, living in his apartment in NYC. After the initial discomfort of the situation, Walter decides to help the young couple and an unlikely friendship is born.

"The Visitor" deals with human relationships and discusses post-9/11 America socio-political issues (the plight of immigrants, xenophobia, etc.) with no hidden agendas. McCarthy has proved himself as a sensitive director/writer, and he extracts a magnificent performance from Richard Jenkins, a character actor who gets his first leading role at the age of 60. Jenkins is fascinating to watch as an ordinary man trying to find himself; he gives one of the best male performances of the decade and I'd love if he got at least an Oscar nomination, since I can see him remaining in my top 5 by the end of the year, perhaps still as my favourite. I know that the movie's small indie weight and the fact that it was released early in the year will probably hurt his chances (the Independent Spirit Award could be his biggest reward), but if it's strongly campaigned, it might get a nod à la "The Savages" (even though I know he's not half big a name as Laura Linney). Anyway, I hope he gets some sort of recognition - he'll also be seen later this year in the Coens' "Burn After Reading". If you like human dramas, sensitive writing/directing and superb acting, you should check "The Visitor" - the finest 2008 release I've seen so far. 10/10.