Hartley has been on a spotty run; his last film to get a proper theatrical release in Portland was made nearly a decade ago. But he recovers nicely with this witty, crackpot comedy about love, espionage, trust and secrecy.
Fay Grim (2007)
Tomatometer
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Reviews Counted:85
Fresh:37
Rotten:48
Average Rating:5.4/10
Consensus: Fay Grim is too concerned with its own farcical premise to present a coherent, involving story.
Theatrical Release:May 18, 2007 Limited
Box Office: $61,817
Synopsis: Hal Hartley's 1997 film HENRY FOOL tells the story of Simon Grim (James Urbaniak), a garbage collector in Queens whose burgeoning talent as a poet is spurred on to greatness by Henry (Thomas Jay... Hal Hartley's 1997 film HENRY FOOL tells the story of Simon Grim (James Urbaniak), a garbage collector in Queens whose burgeoning talent as a poet is spurred on to greatness by Henry (Thomas Jay Ryan), a failed novelist with a shady past. Though the film gave Hartley art-house success, it was an unlikely candidate for sequeldom--let alone one that's a spy thriller--but, years later, that what he's given us with FAY GRIM. Henry has been missing for seven years, and Simon's sister, Fay (Parker Posey), is a single parent raising her and Henry's 14-year-old son, Ned (Liam Aiken), in Woodside, Queens. Simon is in prison for helping Henry escape from the law, but Fay is given a chance to spring him when she is approached by CIA agent Fulbright (Jeff Goldblum), who asks her to go Paris to obtain Henry's "confessions," a series of notebooks he filled with international political secrets. Once in Paris, Fay is preyed upon by operatives other than those she is meant to deal with, and things don't go as planned. An unwitting pawn in a complex international scheme set in motion by her missing husband, Fay finds herself traveling to Turkey for answers. Fans of Hartley's work will be pleased with this oddball take on the espionage genre, in which a permanently tilted camera mirrors the loopy proceedings. Though Posey's Fay is a stereotypical "clueless American abroad" in designer duds, and her adventure seems at first to be a silly game, bodies begin piling up, and the tale gathers real weight. FAY GRIM is a unique addition to Hartley's singular body of work, and a treat for indie film fans regardless of their familiarity with HENRY FOOL. [More]
Starring: Parker Posey, Jeff Goldblum, Leo Fitzpatrick, Chuck Montgomery
Starring: Parker Posey, Jeff Goldblum, Leo Fitzpatrick, Chuck Montgomery, James Urbaniak, Saffron Burrows, Liam Aiken, Elina Lowensohn, Thomas Jay Ryan
Director: Hal Hartley
Director: Hal Hartley
Screenwriter: Hal Hartley
Producer: Hal Hartley, Michael S. Ryan, Martin Hagemann, Jason Kliot, Ted Hope
Composer: Hal Hartley
Studio: Magnolia Pictures
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Reviews for Fay Grim
The involved backstory and Hartley's own generic music both prove burdensome; the main attraction is the cast's amusing way of handling Hartley's mannerist dialogue and conceits.
"We don't buy for a minute the motivations behind any of the large number of characters, and Posey is nowhere near able to carry the movie."
[Director Hartley] has a solid lead in Posey, who's amusing, especially as her character gains confidence and as she begins to turn the tables on the duplicitous Fulbright and others.
A fun whirligig of a thriller that comes dangerously close to killing the buzz from its idiosyncratic delights, but manages to survive (mostly) intact.
I would have liked to see what Hal Hartley's latest would have been like if he kept Henry [Fool} an enigmatic legend rather than a real, not very likable character/actor.
Hartley has chosen the hallmark of a great remake -- reinvention -- in approaching the concept of the sequel, for better and for worse.
Recycling espionage-a-go-go conventions while namechecking global conflicts doesn’t shed light on any state we’re in; it just feels fatigued.
At two hours, it does get a bit overwhelming to keep up, but there are worse places to be stuck for 120 minutes.
This is a perfect role for Posey and she plays it to the hilt, with the rest of the cast providing complementary lunacy.
There's a thin line between goofing irreverently on the maddeningly convoluted nature of spy thrillers and actually being a muddled mess, and Fay Grim crosses it constantly during its deadly second hour.
Fay Grim arrives like a breath of fresh air in a stale summer of big budget sequels. It's smart, breezy, serious and silly. It also allows Parker Posey to shine.
I envisioned Hartley coaching his actors, “You’re showing too much emotion! I want you to sound more as if you’re reading those lines!”
Despite its imperfections, Fay Grim is worth seeing for Posey's and Goldblum's performances and particularly for the witty, literate dialogue.
Clever, fast-paced and surprisingly moving, Fay Grim takes a page from Alfred Hitchcock's Americans-abroad thrillers, in which the glossy surface lies lightly over betrayal and disillusionment.
Fay Grim makes giddy sense to a point, but Hartley seems trapped in a bubble of his own, failing to let us in on a joke that would be funnier if its punch line weren't so quirkily obscure.
Fay Grim is a farce in which people die and lives are ruined. Which is to say, it's peculiarly funny, but you have to be an existentialist with lightning-fast reflexes to get all the jokes.
You won't see another film like Fay Grim this year, and we should give [Hal] Hartley credit for making it work on his own terms.
Parker Posey is one of the indie queens used feebly by Hollywood, but in the hands of Hartley she is the star needed and right on schedule.
Where Henry Fool was a resonant study of friendship, art, trust and politics, Fay Grim is just a throwaway joke.
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April 28, 2007:
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