Starting Out In The Evening

Some may say that the golden age of great American literature is gone. Sure there are still important novels being written but the days of authors like Norman Mailer, J.D. Salinger and John Updike have been largely replaced by authors that are flashes in the pan compared to those giants. A novel can become a success if it is chosen by Oprah and the phrase ‘I’ll wait for the movie’ is ensconced in the popular vernacular. The latest film by Andrew Wagner, ‘Starting out in the Evening’ considers a fictions member of the illustrious group mentioned above. It uses this story as a platform to explore the depths of topics such as aging, career and relationships. The film was based on the novel by the same name by acclaimed New York City born author, Brian Morton. This is a sensitive, frank examination of a man facing the end of a long career, grasping at a chance for one more success. This is a quite film that sneaks up on you. There are bound to be some in the audience that had doubts that a movie about a washed up author would be dull. After watching the film there was never a single moment when it did not completely hold my attention. While so many flicks are dependant upon computerized special effects it is refreshing to view something that is so totally human in content, presentation and message.

The film was directed and co-written by independent film new comer Andrew Wagner. Wagner’s previous film, ‘The Talent Given Us’ was the darling of the festival circuit a few years ago. It was a movie about family featuring Wagner and his real life relatives. Now he has turned his artist vision towards another horizon. It is difficult enough to translate an award winning novel to the screen but Wagner and his writing partner Fred Parnes achieve in a fashion far better than most. This is the second feature film script for both but you would never know it. The story unfolds at a leisurely rate allowing the audience the opportunity to get to really know the characters. The script pays homage to the creative process. It shows it for what it is, difficult and ultimately consuming a person’s entire life. The script has a strong start but begins to slip in the third act but considering the writers are fairly news to this line of work it can be forgiven. As a director Wagner has great control over his film. He avoids the normal pitfalls so common to Indy directors. He does not exert his direction in a heavy handed fashion. He knows that he has an incredible cast and guides them to giving some of the best performances of their collective careers. His film is like a fine meal. It is simmered long enough to let the flavors blend and seasoned at just the right moments. Since there are aspects of the May December relationship here a sex scene would be normal. Not since ‘Lost in Translation’ has mutual attraction been handled in such a sweet and tender manner without the need for overt sexuality. Love and respect does not have to be an excuse for sweaty grinding and this film proves it.

The film opens with a close up of Leonard Schiller (Frank Langella). He is sitting at his typewriter as his has for most days of his adult life. He wears a white shirt and tie; writing is his vocation and he dresses for work. Some years ago he was a successful author; something that made him a celebrity in the literary world. Now, his four published novels are all out of print. His fifth work remains an un-typed page in his typewriter as it has for about the last decade. Publishers now consider his work not commercial enough for the modern reader. Schiller is unwilling to change his style just to suite the whims of the public. He is now in his seventies and is sure that such change is for the young. One fateful day he goes to a local coffee shop for a meeting. There he finds a pretty young woman, Heather Wolfe (Lauren Ambrose) waiting for him. She is about twenty five with dark read hair with a warm and open attitude. Heather is a graduate student working on her thesis. Since Schiller has always been her favorite author she is doing the work on his novels and is overjoyed to finally met him in person. The waitress comes over for their order knowing exactly what the professor wants and what he can’t have. Last year he had a heart attack requiring open heart surgery and things like butter are now denied him. Schiller tells Heather that he is flattered that she would consider him worthy of her time but he is trying to finish his last remaining novel and doubts he can be of help. Heather is persistent with youthful enthusiasm. She wants to help restart his career or at least get his works noticed by the public once again. She cajoles herself back to his apartment ostensibly to get a copy of one of his previous works. Heather also asks to see the room that he writes. Schiller admonishes her not to touch anything as he goes to retrieve the desired book. He is a man used to his solitude and dislikes any of his belongings handled by others. Heather explores his apartment going in his office and reverentially sitting behind the type writer on his desk. As Heather pokes around another woman enters the apartment. It is Ariel (Lili Taylor), Schiller’s daughter. Initially Ariel is surprised and somewhat put off by this strange young woman sitting at her father’s desk. This distrust is only the latest thing to trouble Ariel. She has been having relationship problems trying to get back together with her ex-boyfriend Casey (Adrian Lester). On most matters they get along perfectly. The only major topic if disaccord is that of children. Ariel is desperate to have children; Casey does not want fatherhood. A while back Ariel became pregnant and had an abortion. They couple loves each other but neither one is willing to bend on that issue. Eventually Heather manages to get Schiller to agree to help with her project on him. She is not above using her youthful femininity to get what she wants. This does not sit well with Ariel at all.

This is a very successful character study that juxtaposes two relationships; Schiller and Heather on one hand, Ariel and Casey on the other. In the second act of the film the focus shifts between the two fairly equally but in the third act Schiller and Heather overwhelm the story leaving the audience wondering about Ariel and Casey. Schiller is played magnificently by Langella. Over the decades that his career has spanned he has gone through the usual phases from handsome leading man to more peripheral roles usually villains. Once again he has something worthwhile to take on. He is a leading man in every sense of the term here. This is an actor that is still a force to be reckoned with; a man of grace and control in his craft. Most actresses of Lauren Ambrose’s age have gone through the useless teen comedy route. While she started on that track her involvement in the incredible HBO dark comedy ‘Six Feet Under’ has given her a chance to hone her considerable acting talent. She is able to play coy one moment, the shy school girl enamored of a great man works. The next minute she can play Heather as a young woman who will succeed with her personal ambitions at any cost. Lili Taylor is another alumnus of ‘Six Feet Under’ and for all of her career she has taken on quirky roles and made them her own. She is wonderful to watch in every scene.

Like great works of literature films like this never seem to get the attention they so richly deserve. It has receive more than its share of critics and independent film festival awards but unless you follow such esoteric things you most likely have not heard of the this. Thankfully Lion’s Gate does keep track of films like this. They are always a great source of little hidden gems like this one. They make it possible for serious film lovers everywhere to have a festival in their own homes. This is a must see film.

Posted 03/08/08