Northfork

Like the Polish Brothers' previous films (`Twin Falls Idaho' and `Jackpot'), `Northfork' divides audiences even as it baffles and bewilders them. Many will surely find this film to be slow moving, arty, pretentious and boring, while others will be intrigued by its originality and visionary quality. Either way you slice it, however, `Northfork' is an acquired taste.

It's 1955 and Northfork, a small town on the plains of Montana, is about to be wiped off the face of the earth by a gigantic flood. Only this time the destruction won't be the result of the angry hand of Providence but rather of a dam building project developed and conceived by the government in the name of `progress.' Out of this simple premise, Mark and Michael Polish have crafted an elegy to the past, a tone poem that reflects the deep sadness that comes with change, abandonment and loss. To achieve their effect, the writers have incorporated large doses of Magic Realism (with heavy religious and Biblical overtones) into their narrative. While we observe the harsh realities of people being driven from their homesteads, we are also introduced to a quartet of angels who are searching for one of their number who went missing a number of years earlier. Legend has it that the town of Northfork was originally looked out for by a group of guardian angels and it is from this rather twisted and bent angle that the Polish Brothers have chosen to approach their subject.

`Northfork' is far more about mood, imagery and tone than it is about plot and character development. In fact, the characters themselves – the angels, a caring priest, a dying boy, and a father and son whose job it is to make sure no people are left behind when the land is inundated – are as subdued in tone as the film is as a whole. None of the characters ever speaks above a whisper and each comes across as moody, introspective and stolid. It is in the visuals and in the unhurried, subtle pacing of the narrative that the film achieves its power. The dry barren plains, the weather beaten houses, the violated cemeteries, and the isolated figures of men and buildings placed in stark relief against an imposing horizon – these are the images that seep inexorably into the viewer's subconscious and which make the film a stunning study in melancholy. Let it be noted, however, that there is also a modicum of hope and optimism in the story to help mitigate the sadness.

A number of big name stars have leant their talents to the project, including Nick Nolte, James Woods and Daryl Hannah. Woods, with his straight-faced, deadpan delivery, provides some much needed touches of black humor throughout the otherwise deadly serious work.

`Northfork' definitely requires that you be in a certain mood to appreciate and enjoy it. Hopefully, you'll hit it at just the right moment.

It's a shame this movie is rated PG 13--it is really quite suitable for anyone--though young kids might not follow it too well.

It belongs to that wonderful genre of serio-comic ghost/angel stories that would have to include everything from Capra's "It's A Wonderful Life" to Wenders's "Wings of Desire."

The photography is stunning, the acting first rate, and--wonder of wonders--the tone is uplifting.

My only criticism is that there is not much ambiguity in the film. The two interwoven stories seem intriguingly mysterious at first; but they resolve themselves a little too nicely for my taste. As the director points out in his commentary on the DVD, all the ingredients of Irwin's story are on his bedside table. The symbolism is just a trifle too pat for me.

But what a lark! My favorite scene has to be when the relocation team tries to get breakfast at a diner. This is practically theatrical in its magic--a tour de force of witty acting--subtle, playful, and positively rhythmic--coupled with striking cinematography and an acute eye for the grotesque.

"Northfork" is funny, touching, gorgeous to look at, magical (with the above reservations) and has not one single car-chase.

An easy nine stars.

Northfork is not an inscrutable mess. Whether you wish to view the more fanciful scenes as literal or the product of a dying boy's imagination, one strong theme connects all the stories. Change happens. Each sub-story revolves around a profound change. The little boy is dying. The town is being evacuated. The movie illustrates how we get dragged along by changes we are powerless to stop. We should ideally make the best of them and accept whatever heartache they cause. Some look forward towards a new freedom (the little boy) and some obstinately refuse to accept them (the ark family). And Walter has to learn the lesson that there are some changes we think are over and done with that must be relived (reburying his wife). Just because we think we've buried a chapter in life under the ground doesn't make it so. This is shown so clearly by the conversations between Walter and his son Willis. I say that if you really want to know what the movie is about watch the scene that begins in the outhouse. And pay special attention to the Willis's speech about caring for his car. Its a beautiful movie that gains meaning for me every time I watch it.

In 1955, a dam is soon going to flood the town of Northfork. Walter O'Brien (James Woods) and his son Willis O'Brien (Mark Polish) are two of people brought in to push the last hold-outs to evacuate the town. They have convince a religious family unwilling to leave. Father Harlan (Nick Nolte) is staying behind to take care of sickly orphan Irwin who shows signs of being an angel.

The whole movie is stuck in an unmoving dream state. It's hard to follow the kid's narrative because it's all so surreal. Daryl Hannah is fascinating but WTF is she? It lacks tension because it's obviously something unreal. The evacuation crew is a little easier to invest in and the God discussion is oddly fascinating. I've certainly heard that story before which makes the awkward telling rather memorable. I wouldn't recommend this for the casual movie goer. It's a little weird.

I enjoyed this film's surreal nature and mysteriousness of the characters. The cinematography is beautiful, and the film is well-cast. Although I usually do not like Nick Nolte and the roles he plays, he showed great depth in this film.

Viewers who are unaccustomed to abstract film-making will find the plot disturbingly confusing, but I thought the transcendent themes overode the ambiguuities. If you absolutely HAVE to "understand" the film, just listen to the director's comments on the DVD. Doing this, however, diminishes the abstract beauty of the film--the way an art expert can ruin the experience of a fascinating painting in a museum.

By an odd coincidence, I had toured the locale for this film only a few months before purchasing it, and I thought the director captured the awesome yet austere nature of western Montana well.

The film is worth seeing just for the scenery and cinematography alone, and it offers many interesting topics for sociological discussions. I have already recommended it to number of my friends who appreciate esoteric films.