Stranger Than Fiction Review

by Homer Yen (homer_yen AT yahoo DOT com)
November 23rd, 2006
Trippy Piece of "Fiction"
by Homer Yen
(c) 2006

"Stranger than Fiction" is a trippy little film
that tells the engaging story of Harold Crick
(Will Farrell), a non-impact kind of guy who
worked happily as a tax auditor for the IRS but
led a life that was devoid of true meaning. His
entire existence is a measured cadence revolving
around his unassuming daily activities. He had
an exact number of brush strokes when brushing
his teeth, he had an exact number of hand
movements when tying a single-windsor knot, and
he had an exact number of steps that he took from
his unassuming apartment to the bus stop when he
would just barely catch the bus before it left
the stop.

Uneventful from Harold's point of view, we see it
slightly differently thanks to pepped up visual
and lyrical aids. Visually, as Harold finds
opportunities to tap into his analytical mind,
animations appear on screen to help us relate to
how he thinks. It could be doing a
multiplication table in his head or judging how
many ounces of liquid soap are in the dispenser.
It's kind of like the visual chalkboard you see
during NFL football games when booth analysts
dissect the previous play with x's and o's and
arrows. While he can calculate success with
ruthless efficiency using his mind, he can't seem
to use his heart very well. And this comes to
light when he develops a fancy for a local baker,
a liberating girl named Ana (Maggie Gyllenhaal),
who he has been assigned to audit.

But the neatest gimmick is the narrative
soundtrack that helps us to understand and
appreciate Harold's evolving life. The story of
Harold is actually a book-in-the-works by
accomplished author Kay Eiffel (the dulcet-voiced
Emma Thompson). Each page that is written and
each minute of Harold's life are exactly the same
as if there was some cosmic connection. This
connection, however, is never really explored in
the film. But the end result is that not only
does the audience hear the story of Harold's life
as he lives it, but Harold can also hear her
voice as well. And unfortunately for our
protagonist, the narrator-voice says that certain
events have been set in motion that will
ultimately contribute to his untimely demise.
Not the best news to hear when your life hasn't
had much good news anyway.

Unsettled and desperate to find out the source of
the voice, he tries to coax a response from his
toothbrush, curses the heavens above for an
answer, and asks bystanders if they hear voices
too. He needs to figure this one out before the
final chapter comes to a close. And, I
appreciated the straightforward approach of the
story as Harold tries to find help, leave his
comfort zone for the sake of Ana, and find out
who the mysterious voice in his head is.

Like any evolving book, there are pieces that fit
and some that didn't. Emma Thompson gets the
most mileage out of her time on the screen, and
shows why she is one of the most talented
actresses in the business today. Dustin Hoffman
(who plays a Professor of Literary Theory) is
always a comfort to have in any movie.
Gyllenhaal-as-love-interest has a warm spirit.
Queen Latifah (as Kay's assistant) has been cast
in a non-essential role that wastes her natural
exuberance. Will Ferrell shows his more subdued
and dramatic side. It's almost weird to see him
so restrained. It's a good role for him, but I
fear that while this film is a good one, how he
will be received by his core fans will be similar
to how Adam Sandler's fans received him when he
stretched and did "Punch-Drunk Love". And, as
Dustin Hoffman eventually notes, the ending
could've been so much better. But as it is, it's
ok. Not fabulous, but ok.

Grade: B

S: 1 out of 3
L: 0 out of 3
V: 1 out of 3

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