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Ned Rifle (2014) 6.3
Henry and Fay's son Ned sets out to find and kill his father for destroying his mother's life. But his aims are frustrated by the troublesome Susan, whose connection to Henry predates even his arrival in the lives of the Grim family. Director:Hal HartleyWriter:Hal Hartley |
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Title: Ned Rifle (2014)
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Cast
| Credited cast: | |||
| Aubrey Plaza | ... |
Susan Weber
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| Liam Aiken | ... | ||
| Parker Posey | ... | ||
| Robert John Burke | ... |
Chet
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| Jefferson Mays | ... |
Dr. Ford
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| James Urbaniak | ... | ||
| Martin Donovan | ... |
Rev. Daniel Gardner
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| Bill Sage | ... |
Bud
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| Lloyd Kaufman | ... |
Zach
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| Gia Crovatin | ... |
Olive
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| Karen Sillas | ... |
Alice Gardner
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| Thomas Jay Ryan | ... | ||
| John Ellison Conlee | ... |
Sheriff
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| Bob Byington | ... |
Concierge
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| Michael Wren Gucciardo | ... |
Officer Blackford
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Plot Summary
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Plot Synopsis
Storyline
NED RIFLE is the third and final chapter of Hal Hartley's tragicomic epic begun with HENRY FOOL (1997, TIFF) and continued with FAY GRIM (2007). At once a saga concerning the Grim family of Queens and how their lives are turned upside down by the arrival of the self-proclaimed genius Henry Fool, the trilogy is also an illustration of America's grappling with ideas, art, politics, and religion over the course of 20 years. In this swiftly paced and expansive conclusion, Henry and Fay's son Ned sets out to find and kill his father for destroying his mother's life. But his aims are frustrated by the troublesome, sexy and hilarious Susan, whose connection to Henry predates even his arrival in the lives of the Grim family. Written by Anonymous
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DramaParents Guide:
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Details
Country:
USALanguage:
EnglishRelease Date:
1 April 2015 (USA) See more »Filming Locations:
New York City, New York, USACompany Credits
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For someone who's never been gone.
Admittedly, I'd do well to see a few of Hartley's films again — and catch a couple I've missed — but this one hit me as straight-on as nothing of his since 'Simple Men' (one of my three favorite movies ever!).
The droll, deadpan surface level of the dialogue once again serves to convey an *immense* amount of thought, anguish, and backstory behind each character, with their wounds, indignations, and strivings. The intersections are never less than enlightening, as each has to truly grapple with the other (Hartley once said he wasn't interested in writing other than "strong-willed characters"), finding, at every turn, no small amount of articulation of one's desires is required just to cope.
Sounds like a drag? This stuff's hilarious! "I know what it *means*, Fay." "And then, afterwards, he still didn't introduce me." "Oh ... you're religious?"
Complainers remind me of what Atom Egoyan once said about the responses to his early films, contending that they were "cold": "To me, it's almost operatic ... they're *so* far gone, they could barely muster the energy to kill themselves." (paraphrasing from memory, here.) Similarly, in Hal Hartley's films, every look, every gesture, has so much boiled down into it that only the truly-astute would notice the immense amount of ground covered in this ostensibly-sparse 94 min.
(Best screening I've ever attended at the Laurelhurst Theater here in Portland, too! Even subtle, little jokes — the kind that "barely happen" — got people knowingly chuckling, and I had a nice conversation with a woman in lobby about the latest issue of 'Cometbus' that I was reading: "What's he doing nowadays? Me and my friends had been wondering!" He's around. We're all around, it seems!)
Hallelujah.