Fay Grim

When I first heard that Hal Hartley was doing a sequel to Henry Fool, I was excited (it's been a personal favorite for years now), and then wary when I heard it had something to do with terrorism. Having just seen it though, I was surprised to find that it worked, while still being an entirely different sort of movie than Henry Fool. The writing and direction were both dead on and the acting was superb...especial kudos go to Hartley for reassembling virtually the whole cast, right down to Henry's son, who was only four in the original. Like I said though, this movie is quite different from the first, but it works: I reconciled myself with the change in tone and subject matter to the fact that 10 years have passed and the characters would have found themselves in very different situations since the first film ended. In this case, an unexpected adventure ensues...and that's about all I'll give away...not to mention the fact that I'll need to see it again to really understand what's going on and who's double crossing who. While it was certainly one of the better movies I've seen in some time, it suffers like many sequels with its ending, as it appears that Hartley is planning a third now and the film leaves you hanging. I'll be sure to buy my tickets for part 3 ('Henry Grim'?) in 2017.

When I started watching "Fay Grim", I had no idea that it was a sequel to "Henry Fool". Now, the latter was not a movie that I envisioned as having a sequel. But one has arrived, and it's quite good. I assume that you've seen the original, so I won't explain it. This one starts with Fay (Parker Posey) living with her son whom she had with deadbeat Henry (Thomas Jay Ryan). Simon (James Urbaniak) is still in jail. One day, the son gets expelled for bringing a pornographic toy to school. But this is no ordinary toy. It holds a secret that explains much of what happened in the first movie. And this secret delves deeper into geopolitics than "Syriana".

I must say that I'm quite impressed with what Hal Hartley has accomplished here. Maybe this one doesn't quite reach the original's quality, but it certainly takes a good look at what's going on in the world. And the end leaves open the possibility for another sequel.

Also starring Jeff Goldblum.

The 1997 low-key indie dramedy Henry Fool would seemingly have been a secure choice of movies no one would bother to revisit for a sequel. A rumpled, dissipated drifter (Thomas Jay Ryan) strolls into town. His anarchistic rantings and delusions inspire a nerdy garbage collector (James Urbaniak) to write poems, while Henry half-heartedly tries to boink the guy's sister (Parker Posey). As the poet prospers, Henry declines. Nothing special about any of the characters or the story. A pitch for Harold and Maude's Ghost would have been quoted higher odds of ever making it to a screen.

But Parker Posey ain't the semi-official Queen of the Indies for nothing'. So when writer/director Hal Hartley came up with a new incarnation for his cast, a film was born. Though we catch up with the same characters many years, they're in a completely different sort of dark comedy; this one's laced with espionage! Henry may have been an international spy - and possible double, or even triple, agent - for years before meeting the others. He's either dead or in hiding from agents and authorities of many countries. Everyone wants his rambling, incoherent journal which just may contain coded secrets that could destabilize nations and economies. Posey's Fay is either the wife he left to go on the lam, or his widow, depending on who's telling the truth. Fay's efforts to find Henry and/or the hotly-contested journals include a globe-trotting gauntlet of multinational hit-persons and henchmen at every turn. She never knows who to believe or trust. Nor do we.

While herding these unlikely characters into Jason Bourne/Jack Ryan territory, Hartley's script retains the ironic deadpan humor of their first appearance, steering clear of slapstick in exposing them to physical menaces. His sly lampoon of the paranoia, duplicity and musical-chairs alliances of today's geopolitics starts to crumble towards the end. Even so, fans of the first movie will be pleasantly surprised by the novelty of Hartley's recycling methods. (5/18/07)

Perhaps I would have liked this film more if I wasn't so attached to the characters in Henry Fool. To those who've never seen Henry Fool, I wouldn't worry. As Hartley jokingly said in his introduction to the film at TIFF, the film has lots of exposition and explanations.

This film is very heavy in plot, which keeps the film moving. There are many humorous moments and the film certainly has Hartley's trademark humour and rhythm of dialogue. Over all, a technically well made film and sure to satisfy new fans of Hartley who are just beginning explore his work. As for the older fans who loved his earlier works like Trust and Amateur, this film could go either way. I have mixed feelings about the film and Hartley's later films in general. What Hartley does best is setting his stories in small situations, focusing on the intimate and idiosyncratic ways in which his characters interact with each other. Since his late 90s and onward, his films have widened in scope in terms of subject matter. Mass media in No Such Thing, Religion in the Book of Life and now Terrorism in Fay Grim. I don't know if Hartley's talents are suited to such big subject matter or if he's able to do it justice.

Strangely enough, the film can still be reduced to intimate relationships, a simple love story about a woman who goes to seek out the husband she loves. The only problem is, I've seen Henry Fool and everyone seems incredibly out of character in this film. You can tell this film was written long after Henry Fool was finished without any intention of a sequel. Somehow, the terrorist plot feels conveniently tacked on through the use of Henry's books of confessions as a macguffin (in the hitchcockian sense). Fay's motivations for finding Henry seemed motivated purely by the needs of the plot rather than what being faithful to who fay was as person in Henry Fool.

I guess I'm slightly disappointed in the film because it's not true to the characters in the Henry Fool and it doesn't exactly work as a straight ahead thriller. There's too much irony and wryness in Hartley's approach to such as big topic as terrorism. It somehow works and doesn't work at the same time. All I could say, you would either love or hate the film depending on your take on Hartley's work and how well you know Hartley's work. Fans of Henry Fool, be severely warned for a disappointment. For the rest, welcome to the world of Hal Hartley and enjoy the ride.

"Fay Grim" is Hal Hartley's strange, fitfully amusing but ultimately unsuccessful follow-up to his "Henry Fool," an independent feature from 1997 that achieved a certain degree of critical acclaim and financial success upon its release in 1998.

Parker Posey returns as Fay Grim, the wife of the aforementioned Mr. Fool, the literary poseur who disappeared mysteriously at the end of the previous picture taking the multi-volume "confessions" he had written right along with him. Fay is barely keeping the frayed strands of her life together when a couple of CIA agents (the main one played by Jeff Goldblum) arrive on the scene to inform her that not only is her missing husband believed to be dead but that the French government would like nothing better than to get its hands on Fool's inscrutable manuscripts, which, apparently, contain coded information of great value to many of the world's premier powerbrokers. The agents convince Fay to fly to Paris to engage in some serious cloak-and-dagger espionage for the American government. While there, she finds herself quickly embroiled in a complex web of secrecy, lies and international intrigue centered around the man she married but now realizes she never really knew much about.

With its tongue-in-cheek style and preposterously over-complicated storyline, "Fay Grim" is admittedly something of an acquired taste. Some viewers may be intrigued by the hip, postmodernist tone and approach the movie adopts towards its subject matter, while others may find the whole thing insufferably pretentious and annoying. I'm afraid I fit more into the second category, for despite its undeniable cleverness, the movie tends to way overplay its hand, with deliberately arch and self-conscious dialogue - comprised mainly of endless non sequiturs, a rat-a-tat-tat delivery and clipped phrasing - that wears out its welcome very early on. Ditto for the acting, which is intentionally deadpan, one-note and mannered throughout.

At times, the movie's satirical commentary on the insanity of life in the modern world is pointed and acerbic, while, at others, the film is simply too cute by half to really make its case very effectively. "Fay Grim" earns points for at least trying to be different, but you have to be in a very special kind of a mood to truly enjoy it.