Henry Fool (1997)

In "Henry Fool," Hal Hartley inserts a fart joke in a bathroom setting that may or may not be in homage to "Dumb and Dumber." Also in this bathroom scene, directly after the enormous fart is a sort of marriage proposal. It's quite funny. But don't be mislead by this one example from the film. "Henry Fool" is a poetic, realistic, charming and sly piece of cinematic subversiveness that is as much about writing and the creative process as it is about friendship, male/female relationships, trust, families, modern technology, pop culture, modern politics, and the influence society has upon children.

Hartley peoples the film with numerous familiar characters as well as new personages with wonderful nomenclature. In addition to the titular Henry Fool, who seems to be anything but, there is also a would-be poet named Simon Grim, and a ultra-conservative Congressional hopeful named Owen Feer (pronounced, of course, Fear). As for the familiar, there is a Pearl and a Warren, as in "The Unbelievable Truth," and a youngster named Ned, a pseudonym Hartley often takes for himself.

The plot revolves around a stranger coming to town, a familiar theme to Hartley. This newcomer, who is heralded by Simon placing his ear to the ground to "hear" his arrival, of course changes the lives of all he meets. Henry Fool is the stranger who disrupts the dysfunctional household of the Grims which consists of garbage man Simon, his slutty sister Fay and their medicated mother. His first words to the belittled Simon is "Get up off your knees." And Henry wastes no time in inspiring Simon to write down his thoughts. Before long, Simon has become a poet and once his work is published in a high school newspaper and on the Internet, he becomes a sensation igniting a controversy over whether his work is art or pornography.

Hartley uses this plot to discuss so many issues. One is his own work, in a way, when the idea of exposing your "ideas" to the public and critics is discussed. But there are also themes of friendship when Simon and Henry form a bond as one is inspired by the other. Maybe this is more the theme of mentors. (Socrates is mentioned). This easily relates to the film's theme of society's influence upon children. It is no accident that Simon's work gains it's first recognition in a high school paper or that one of the characters has served jail time for having sexual relations with a minor. What we allow our children to know is a modern concern of epic proportions and that is reflected here. "Henry Fool" may not have answers but it seems to show us that what one person is hurt from, another can be helped by; What one person can be disgusted by, another can be touched deep in their soul from knowing. This idea, in a way, negates any thought that there are certain things which children should not be exposed to. It is also no accident that the young girl character in the film is molested by her surrogate father while the young boy character in the film is taught to drink, smoke and carry on with strippers in the neighborhood bar.

The theme of male\female relationships are also discussed when Simon's poetry causes an Asian storekeepers mute wife to sing or when Henry develops a relationship with Simon's sister.

The actors in the piece are unusual but effective. The two male leads are relative newcomers while the art-film starlet Parker Posey has the female starring role. Stage actor Thomas Jay Ryan is rather an odd choice for Henry. Both large and gruff, he is supposed to be an artist and a hedonist. I guess it is obvious to us he is a fraud but not to Simon. The neophyte Simon is played with wonderful quiet charm and surprising intellect by James Urbaniak. His lean and awkward physical demeanor lets us immediately realize that there is a wonderful person underneath. What is great is the subtle chemistry that develops between he and his mentor, Henry. We have no trouble believing that Henry can bring the best out in Simon or that Simon may eventually outgrow him.

As always, Hartley plays with two of my favorite things about film, language and music. Hartley's film is not only intellectual, but it is filled with a multitude of bon mots that would make Oscar Wilde proud. One of my favorites is "An honest man is always in trouble." "Henry Fool" never ceases to trot out interesting themes, characters plots or ideas and all of this is in the most wonderful and witty way. Most importantly, it is honest. Even Henry Fool, for all of his intellectual bombast, is truthful. The characters here are likable because they are honest. This incorruption seeps into every pore of the film. While the spewing of dialogue is gone, Hartley instead uses silence and half-uttered thoughts to capture our attention. Often, in "Henry Fool," it is what is not said that is most important. The understood.

Add to all this the fact that the film is highlighted by Hartley's usual effecting self-composed score and you have a film to love. Hartley's music is always perfect, piano and keyboards used sparsely or added to simple yet quirky drum beats often accentuate the film here, making it the expected film we want from Hartley.

"Henry Fool" continues Hartley's career as one of the preeminent art film directors in America. He is yet to fail us. And Hartley continues to change and evolve, rarely serving up the same style or plotline twice, still making all of his work seem cohesive and familiar. As always, when the film is over, you can only reflect on what you have seen. It may take days for all that has been experienced to seep in.

Note:

Hatley acts as Director, writer, producer, and score composer, (including credits as music arranger, music performer, and additional songs). Additional songs are by his band Ryful (pronounced Rifle, a humorous reference to Hartley's musical pseudonym, Ned Rifle).

Also with Maria Porter (Mother), Kevin Corrigan (Warren), Liam Aiken (Ned), Miho Nikaido (AKA Mrs. Hal Hartley - also in "Flirt"), Gene Ruffini (Officer Bunuel), Nicholas Hope (Priest), Jan Leslie Harding (also in "Amateur"), Chuck Montgomery (also in "Amateur"), Marrisa Chibas (Reporter - also in "The Cartographers Girlfriend"), and Merritt Nelson (Flight Attendant - also in "Surviving Desire," and "Trust"). Camille Paglia has a cameo.

Cinematographer is long time Hartley alumni Michael Spiller. Hartley's longtime Producer Ted Hope, who has no real association with this film, is thanked in the end credits.

Referenced in the film are Wordsworth, Milton, and Socrates. The plot has been called "Faustian" and it is said that Urbaniak was chosen because he looked like a young Samuel Beckett.

The film won Best Screenplay honors at Cannes in 1997.

(Review written in 1998)

Report Card

Script: A+

Acting: A+

Cinematography\Lighting: A+

Special Effects\Make Up: A+

Music: A+

Final Grade: A+