Off the Map (2003)
"He has
a concise vision." -Sam Elliot on Campbell Scott at
AFF 2003
How Campell Scott got the money
together to make "Off the Map" is beyond me. Even
with Joan Allen and Sam Elliot in lead roles, the
film's script is so unusual and so un- Hollywood that
I can't imagine anyone offering up the 4 or 5 million
dollars it cost to make it. Don't take this as a negative
either. I'm not saying this isn't a wholly engrossing,
totally beautiful, amazing and unique film. It is
all that and more. I'm just saying that it is the
kind of film that never gets made, one that uplifts
the human spirit and one that make the viewer simply
thrilled to be alive.
You don't see characters like the
one Joan Allen plays here very often. She's an Earth
mama, a hippie who has moved to New Mexico to raise
her family off of the land, relying on a small amount
of welfare and the barter system to help sustain them.
You don't see characters like the one Sam Elliot plays
either. His middle-aged father going through a severe
bout of depression is nearly silent throughout the
film. We never see characters like this, except perhaps
within the confines of a TV Movie of the Week and
Elliot elevates his character (with help from scripter
Joan Ackermann) far above any character with his condition
we've ever seen in any film before. It's a valid and
validating portrayal. And we rarely see films through
the eyes of teenage girls. But "Off the Map" breaks
this trend as well, providing us with one of the smartest,
wittiest, most complex teen girl characters to ever
be placed in a movie. The actress is Valentina de
Angelis and she has an inordinate amount of talent.
This is an amazing ensemble.
"Off the Map" is chock full of emotionally
resonant and beautiful moments. The film also takes
on the quality of the classic play "You Can't Take
It With You" in a way, when William Gibbs, an IRS
agent, comes on the scene and ends up simply staying
with the family. Then there's best friend George whose
appearance around the main characters' house begins
to become comforting. The interaction between this
ensemble, dealing with Elliot's emotional problem,
dealing with the family's financial woes, dealing
with the young daughters emerging personality and
coming-of-age, dealing with Agent Gibbs change of
life, dealing with the friend's new relationship with
a local woman, is simply riveting. We love these characters.
We care about them. We want to see them grow and be
happy.
But even more surprising is how
all of the actors in the piece, including Allen, Elliot,
de Angelis, Jimmy True-Frost and J.K. Simmons, have
wonderful moments throughout the film. There are great
scenes between daughter and mother here, daughter
and father, husband and wife, and between friends.
Scott and Ackermann don't try to
do anything fancy or quirky with the film or the storytelling
here. There is a little bit of business using Amy
Brenneman as the modern-day girl all grown up so that
she can act as narrator at times and speak for the
teenage girl in the film but this device isn't annoying
or overused (even though it is fairly unecessary).
The film simply allows the characters (and the actors
playing them) to speak for themselves and this relates
all we need to know to enjoy the film in full.
"Off the Map" takes place away from
the workaday world, far from the crowds and the tussles
and the hustlers, and reminds us that life's simple
mysteries are certainly enough to provide the drama
and emotional resonance we require to keep us interested
in a story. While not everything in the film works
perfectly, the characters here are so unique and the
changes they undergo are so compelling, we easily
fall in love with the film.
Note:
Filmed near Taos, NM.
Ackermann wrote the screenplay based
on her own stage play. Scott came to her small theater
and saw a performance and optioned the piece.
The house used here was built specifically
for the film.
The awesome score is by Gary DeMichele.
The song "Me and Mrs. Jones" by Billy Paul is used
effectively in the film.
Harry Dean Stanton is mentioned
(in a somewhat unusual and humorous way) in the film.
The film screened at Sundance and
Cannes and is scheduled for a March 2004 limited arthouse
release.
Viewed
at AFF 2003
