Swedish AUTO (2006) *** Lukas Haas, January Jones, Lee Weaver, Chris Williams, Mary Mara, Tim De Zarn, Brianne Davis.
Lukas Haas made his screen debut some 20 years ago as the innocent Amish boy who witnesses a brutal murder in the Harrison Ford drama, "WITNESS" and since then has made an impressive indie film career playing all sorts of characters - good and evil - with his soulful, expressive eyes doing most of the acting. In this small, modest and deceptively winning film he continues to do some of his finest work.
As the introspective, quiet auto mechanic specializing in Volvo repairs (invoking the innocuous title), Haas' Carter is a lonely, yet inquisitive sort who has no friends and family to speak of outside of his kindly elderly employer Leroy (Lee Weaver) and his son Bobby (Chris Williams) who share their luncheons with Carter at the local diner where Carter is secretly falling in love with the comely waitress Darla (January Jones) who is apparently unaware of her beau-in-waiting.
During his many empty evenings Carter follows and spies on the beautiful and equally quiet Darla unbeknownst of her would-be paramour who is also beguiled by a neighbor who plays enchanting violin. Carter can barely summon a conversation with anyone let alone express his desires and mulls his misery in silence.
When Carter sees an older man making illicit moves on Darla he presents her with a lovely gift - an assortment of Christmas lights on a clothes-hanger outside her window - prompting her to confront him. What Carter doesn't know is that Darla in fact has been following and spying on him! The two lonely hearts start a tender, odd romance while they have to deal with such issues as Darla's addict mother Pam (Mary Mara) whose junkie influences of morphine makes her a prisoner to her boyfriend Shelley (Tim De Zarn), who is dying and her connection to the drug, while making things painful for Darla's conflict of keeping watch on her mother's dwindling health while putting up with Shelley's streak of sadism. Carter meanwhile works out his frustrations by restoring a vintage Volvo, pipe dreaming of escaping from the idyllic little hamlet with Darla, but things are about to change drastically causing the couple to seriously dwell on their immediate futures.
Written and directed by novice filmmaker Derek Sieg, who has a career in film production - and according to the press kit provided confirms this as a semi- autobiographical work, makes a gentle film come alive with skillful modulation of maintaining character development and has a painterly viewpoint with a beguiling production design by Ruth DeJong, Richard Lopez' cinematographic palette of bruised blue/green/black schisms evoking the characters romantic melancholy and a keen editing job by Daniel A. Valverde (I was impressed how the climactic confrontation between Bobby and Carter framed the former out of frame suggesting more menace than in their conversation). The acting is universally solid with Haas giving a poignant performance equally balanced by Jones, a genuine surprise perhaps best known as Barry Pepper's long-suffering young bride in last year's "The Three Burials of Melquiades Estrada", makes Darla an empathetic yet smart character fully realized by the film's end.
Sieg echoes the work of Terrence Malick and new indie fave David Gordon Green and uses his hometown of Charlottesville, Virginia to full effect making a unique and sweet film that should be sought out.
Lukas Haas made his screen debut some 20 years ago as the innocent Amish boy who witnesses a brutal murder in the Harrison Ford drama, "WITNESS" and since then has made an impressive indie film career playing all sorts of characters - good and evil - with his soulful, expressive eyes doing most of the acting. In this small, modest and deceptively winning film he continues to do some of his finest work.
As the introspective, quiet auto mechanic specializing in Volvo repairs (invoking the innocuous title), Haas' Carter is a lonely, yet inquisitive sort who has no friends and family to speak of outside of his kindly elderly employer Leroy (Lee Weaver) and his son Bobby (Chris Williams) who share their luncheons with Carter at the local diner where Carter is secretly falling in love with the comely waitress Darla (January Jones) who is apparently unaware of her beau-in-waiting.
During his many empty evenings Carter follows and spies on the beautiful and equally quiet Darla unbeknownst of her would-be paramour who is also beguiled by a neighbor who plays enchanting violin. Carter can barely summon a conversation with anyone let alone express his desires and mulls his misery in silence.
When Carter sees an older man making illicit moves on Darla he presents her with a lovely gift - an assortment of Christmas lights on a clothes-hanger outside her window - prompting her to confront him. What Carter doesn't know is that Darla in fact has been following and spying on him! The two lonely hearts start a tender, odd romance while they have to deal with such issues as Darla's addict mother Pam (Mary Mara) whose junkie influences of morphine makes her a prisoner to her boyfriend Shelley (Tim De Zarn), who is dying and her connection to the drug, while making things painful for Darla's conflict of keeping watch on her mother's dwindling health while putting up with Shelley's streak of sadism. Carter meanwhile works out his frustrations by restoring a vintage Volvo, pipe dreaming of escaping from the idyllic little hamlet with Darla, but things are about to change drastically causing the couple to seriously dwell on their immediate futures.
Written and directed by novice filmmaker Derek Sieg, who has a career in film production - and according to the press kit provided confirms this as a semi- autobiographical work, makes a gentle film come alive with skillful modulation of maintaining character development and has a painterly viewpoint with a beguiling production design by Ruth DeJong, Richard Lopez' cinematographic palette of bruised blue/green/black schisms evoking the characters romantic melancholy and a keen editing job by Daniel A. Valverde (I was impressed how the climactic confrontation between Bobby and Carter framed the former out of frame suggesting more menace than in their conversation). The acting is universally solid with Haas giving a poignant performance equally balanced by Jones, a genuine surprise perhaps best known as Barry Pepper's long-suffering young bride in last year's "The Three Burials of Melquiades Estrada", makes Darla an empathetic yet smart character fully realized by the film's end.
Sieg echoes the work of Terrence Malick and new indie fave David Gordon Green and uses his hometown of Charlottesville, Virginia to full effect making a unique and sweet film that should be sought out.