Man’s best friend can also be a lady’s best friend, too!
Wendy Carroll (Michelle Williams) is driving to Ketchikan, Alaska in hopes of a summer of lucrative work at the Northwestern Fish Cannery, and the start of a new life with her dog, Lucy. When her car breaks down in Oregon, however, the thin fabric of her financial situation comes apart, and she confronts a series of increasingly dire economic decisions, which also leaves Lucy in a very vulnerable position.
Back in 2008, Marley & Me was considered the go-to dog movie, that had every doggie-lover out there pulling out a box of Kleenex by that tear-dropped soaked-ending. When I saw it, to be honest, it kind of got to me as well since I do love dogs but little did I know that there was a smaller, more effective doggie-loving movie out there around the same time. Then again, back in 2008 I wasn’t a movie critic so maybe that’s why I never caught much wind of it.
Damn me and my younger-self!
This is the third film from co-writer/director Kelly Reichardt who seems to have a certain style to her work that may be hard for some to get into, but works for those who have enough time and patience on their hands. What Reichardt does is she takes a plot, doesn’t do anything with it, and just let’s the camera keep rolling as you watching events play-out in front of you; you know, as if it was almost like real life. She did the same exact thing with Meek’s Cutoff, and even though I didn’t appreciate that one as much as this, it still had it’s moments where I felt involved. This whole film, I felt involved mainly because of what Reichardt is able to do with this story, or lack thereof.
Some people will probably be pissed about this film and how it seems like nothing is even going on for the first 30 minutes or so, but Reichardt’s film isn’t all about what’s physically happening; it’s all about what’s going on when you look deeper into certain actions. Maybe I’m giving the film more credit than it desires but there is something here that makes this film compelling just about the whole way through. We see this whole story through the eyes of this gal and we see her for all of her faults and positives. She’s broke and is on the streets now and we have no idea why, but we don’t really need to know that to be invested in her story. All we do know is that she’s struggling big time and will do anything in her power to get where she needs to go, but also make sure that she finds her dog beforehand.
But once the final ten minutes of this thing happens, be ready, cause it will get you; much like it got me. Because the whole film is one big bleak-fest, that never seems to have any ray of sunny hope in it whatsoever, it feels like that’s how it’s all going to be, so it’s best to just leave the emotions alone and not even bother with them. Then out of nowhere comes this emotional wallop that the film apparently has been packing the whole time and once it does come through, it doesn’t at all feel calculated or phony, unlike Marley & Me. You probably won’t think that this film will get you, but trust me, it will and it does. Not saying that it made me cry, but it got me feeling just a bit more than I originally expected.
My only problem with this flick was that I feel like it takes so much of it’s time going absolutely nowhere sometimes that it doesn’t really matter what happens next. Actually, now that I think about it, I can’t remember any huge emotional or memorable scene that occurred in the middle act. They all came in the beginning and last act and it wasn’t that the rest of the film other than that was boring, it just seemed like Reichardt didn’t feel the need to move her story, so instead just let it move on itself without any real direction or idea. Not saying that this is a bad direction to take when you have a small indie like this, but sometimes you need to spice things up every once and awhile just to keep our eyes glued on the screen. Just my opinion though, man.
And let me also not forget to mention the most random scene in this whole film that seems to come completely out of nowhere: The infamous forest scene. Without giving too many weird details away, Wendy ends up sleeping in the woods one night only to be awoken by some freakishly creepy man that starts talking and cussin’ all of this gibberish that made no sense whatsoever. It goes on and on to where it seems like we should be scared for her and for this story, but it just seemed very obvious that a story would go for this trick of scaring us into believing that anything could go wrong with this gal. Once again, can’t give too much away but it’s a weird-ass scene that stuck in my head for all of the wrong reasons.
But the only damn reason we even care about Wendy’s homeless-self to begin with, is because she’s played by none other than Michelle Williams. Williams, as we all know, is a knockout when it comes to the acting department as she proves, time and time again, that she can always amaze us with the talent she brings to the big-screen and never lets us down with a role she daringly chooses. This is a very soft, slow, and quiet role for Williams, but she masters it perfectly with just the right look and attitude to every obstacle that comes in her way and it’s a very delicate portrait of a flawed character that, believe it or not, we actually care about and want to see be happy after all of the shit she’s been through so far. It’s the type of character that Williams excels, and the fact that she’s allowed to use her facial-expressions, just makes it all the better to watch.
Somehow though, Williams almost gets over-shadowed from somebody else: An unknown actor by the name of Wally Dalton. Dalton plays a store security guard that offers her help in any way that he can and tries to be there for her when everything in her life seems like it’s total crap. I’ve never seen this Dalton dude before but he’s very likable and nice, to the point of where I wanted to see her hang-out with him more because of the sweet things he does for her, whenever he coucl. This relationship between them doesn’t go where you expect and at the end of it all, they share a nice little connection that doesn’t end perfectly, but also couldn’t have ended any other way either.
Much like real life.
Consensus: Wendy and Lucy may tick some people off for its slow-pace, but it still packs a powerful punch of emotion mainly because of Michelle Williams’ layered, but subtle performance. Doggie-lovers, bring your Kleenex to this one too.
8 / 10 = Matinee!!