Away From Her: Hal Hartley’s Influnece and Julie Christie’s Eternal Power (Spoilers!!)

“Wouldn't it have been lovely if we'd met before? “
-- Lara Antipova from Doctor Zhivago

“Look, Mr. McCabe, I'm a whore!”
-- Constance Miller from McCabe And Mrs. Miller

“Is it true that a long time ago, firemen used to put out fires and not burn books?”
-- Clarisse from Fahrenheit 451

Who knew that Hal Hartley would have such a dramatic effect on several motion pictures released in 2007? I have not seen his just released, Fay Grim, but I am sure it is a fine follow-up to his 1998 film, Henry Fool. Two of Hartley’s actresses have made two of the finest directorial debuts in recent years. Adrienne Shelly’s directorial debut, Waitress, is bittersweet. Her work in Hal Hartley’s The Unbelievable Truth and Trust remains some of the best raw acting in American independent cinema of the early 1990’s. Shelly picked up a lot from Hartley while serving as his muse. Her Waitress is smart, funny and perfectly sweetened. Shelly could have written the main role for herself, but wrote a career making part for Keri Russell. Still, Shelly gave herself one of her best parts in years as Dawn. The film serves as fine reminder that not all romantic comedies have to aim for the lowest common denominator or star Drew Barrymore. Sadly, Adrienne Shelly was murdered on November 6th of 2006. It depresses me that she is not alive to see and reap the rewards of her greatest work. Shelly’s work in Hartley’s films was iconic. Her death is a loss of so many great future works-- the loss of a great mother, wife, actress, writer and director.

I had no problem with Hal Hartley’s 2001 film, No Such Thing. If I would have known that Sarah Polley would some day direct Julie Christie in a film, I would have said, “faster, more intense.” Sarah Polley not only channeled Hal Hartley while making Away From Her, but also Atom Egoyan who directed her in The Sweet Hereafter and Exotica.. It helps that Mr. Egoyan serves as an executive producer on the film. While I see traces of both director’s style in her film, I see an original voice as well. Sarah Polley, like Shelly before her, has crafted an unexpected tale for us. Polley has adapted the film from Alice Munro’s short story, “The Bear Who Came Over The Mountain.” Sarah Polley has always had a keen eye for the material she chose as actress. The Sweet Hereafter, Go, Last Night, The Weight Of Water, Guinevere, Existenz, Don’t Come Knocking, My Life Without Me and The Adventures of Baron Munchausen represent a diverse selection of films for such a young actress. She brings a lot of class to her most mainstream film, Zach Snyder’s 2004 remake of Dawn Of The Dead. She had the chance to work and observe Wim Wenders, David Cronenberg, Terry Gilliam and Doug Liman as well. Sarah Polley’s accomplishes a lot with her film. A film about a couple struggling with the devastating effects of Alzheimer's Disease has the potential to feel like a television movie of the week. Yet, the film never has that feel at all.

The story of Fiona (Julie Christie) and Grant (Gordon Pinsent) feels fresh. The film follows the Ontario couple who been married forty years. In their twilight years, Fiona begins to forget things. Little things at first, but one night she wanders away and gets lost. Grant has to go look for her. It is decided that a nursing home is the best solution. Their marriage is about endure its greatest test. The nursing home has a strict no visitors policy for the first thirty days. This required so new patients can get a feel for their surroundings. This forced long term separation will have horrible results for Grant. When he returns to the nursing home, Fiona has forgotten who is he and she has affections for a fellow patient, Aubrey (Michael Murphy), a wheelchair bound mute. Fiona is moving away from Grant. Can he get her back? Is he willing to make a very important self sacrifice? Grant must make painful choices to ensure Fiona’s happiness. Grant’s scenes with Aubrey’s wife, Marian (Olympia Dukakis) are an unexpected pleasure. It never dawned on me that the film would take this route. The film’s view of Alzheimer’s disease is frightening. The loneliness and depression of the nursing home is vividly depicted in the film. The destructive havoc that the disease is subtle, but powerful. With other actors and another director, the film might not work.

Julie Christie’s performance as Fiona ranks up there with some of her greater performances. There is a lot of Oscar buzz for her performance as Fiona. She was nominated for her part in Alan Rudolph’s 1998 film, Afterglow as well. Do not call it comeback, Julie Christie has never phoned it in. Her work in Finding Neverland and No Such Thing deserves mention. Wolfgang Peterson wasted her and Peter O’Toole in Troy.
I always thought I had discovered her in David Lean’s Doctor Zhivago back in high school. Her Lara remains one of the best reasons to major in English in college. Lara is the ultimate muse. But I discovered her much earlier in Demon Seed and Fahrenheit 451. Two science fiction cult classics directed by David Cronenberg and Francois Truffaut respectively. She won an Oscar for her work in Darling in 1965. As Diana Scott, she is the epitome of the Swinging Sixties period in London’s fashion scene in John Schlesinger’s film. She was great opposite Tom Courtenay in Billy Liar. Warren Beatty would be one of her best leading men. Their work together in McCabe And Mrs. Miller, Shampoo and Heaven Can Wait remains some of the best and smartest chemistry onscreen. The Go-Between, Far From The Madding Crowd and Don’t Look Now only remind us of how powerful her presence is over the years. Fiona is a wonderful addition to a long list of triumphant screen roles. Fiona is an older Lara, Constance Miller, Phyllis Mann and Jackie Shawn. We have been blessed to have witnessed a great actress deliver five decades of incredible work and no signs of slowing down. I am sure people will want to compare her work in this film to Peter O’Toole’s Oscar nominated role in last year’s Venus. On the surface that may be a fair comparison, but Christie has never lost her edge. It is as though that Lara has never left the building.