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The Station Agent 2003 |
Review by Jonathan Cornwell |
Directed by Thomas McCarthy
R, 90 min. (language, some drug content) |
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Starring: Peter Dinklage, Patricia Clarkson, Bobby Cannavale, Michelle Williams, Raven Goodwin, Paul Benjamin
Producers: Robert May, Mary Jane Skalski, Kathryn Tucker
Screenplay: Thomas McCarthy
Cinematography: Oliver Bokelberg
Distributor: Miramax Films
Released: 10.03.03 (Limited) |
Rating:
  (out of ) |
The Station Agent's main character is a dwarf, and it's to the genius of the filmmakers that no one even notices
this fact by its well-earned conclusion. This is one of the most enjoyable films of the year, honest and earnest in its
portrayal of authentic people and places, espousing the virtues of true friendship and camaraderie. Written and directed
by Thomas McCarthy, the film is a genial, quiet but powerful display of lonely people that choose to see the best in each other
rather than the worst. Although very funny, The Station Agent reveals deeper truths about human nature, both
the more noble and more embarassing aspects of it. That some people cannot look at a dwarf without comment or
cruelty is proof that some ridicule in order to make themselves seem superior. This is a film that seduces the viewer
with skin-deep humor but eventually evolves into something much more meaningful.
Finbar McBride (Peter Dinklage in a career performance) is like any other person, except that he's 4 foot 5 inches tall.
His love of trains defines his life, one of loneliness and isolation from a cruel world. When his boss/friend, Henry Styles (Paul Benjamin),
dies suddenly, he is left with an old, unused train station in Newfoundland, N.J., where he begins a new chapter of his life.
He is soon bombarded by the constant congenial attention of the bubbly Joe Oramas (Bobby Cannavale), who mans a
food truck for his ailing father. Then he runs into (almost literally) Olivia Harris (Patricia Clarkson), who recklessly almost
runs him over twice on a backroad near his home. Harris, who is dealing with a divorce and the death of her son a few years
past, takes a shine to Finbar, who is bemused and confused at the sudden kinship. It's not long before Joe and Olivia
accompany him on "the right of way," or walks along the train tracks, where their friendship coaxes Finbar's inner struggle with
society to brim to the surface. When Emily (Michelle Williams), the local librarian, sees Finbar as a handsome object of
her affection, Finbar is awash with feelings and emotions that have not been dealt with in years.
The film is essentially a cleansing process for all the characters presented, from Finbar's personal angst with a shallow
world to Joe's need for companionship to Olivia's catharsis for a broken heart. The Station Agent plays like a
refugee camp for individuals who need shelter from life's hardships. That McCarthy is able to find gems of humor amidst
the rubble is evidence of his insightful and ultimately moving screenplay, which is also one of the year's best. The film's
three main characters seemingly triangulate their underlying fears and frustrations, leading to one of the more unforced,
fully satisfying conclusions in years. There is never a hint of manipulation or forced melodrama in McCarthy's profound
statement about the power of friendship.
Finbar, Olivia, and Joe escape the intense loneliness through a burgeoning collaborative process; at first hesitant (except
for Joe) the trio lowers their collective guard through a series of walks, talks, and meals which eventually leads to
healing and acceptance. Finbar, a private man with a grave dislike for company, begins to confront his own isolationism
when the innocent gaze of a elementary school girl (Raven Goodwin) questions his worldview. The film is centered
around Finbar's gradual metamorphosis, from closed-off cynic to tempered enthusiast for his newfound friends. Olivia
finds solace from her pain in the form of caring for Finbar, who reminds her of her departed son. Although there is a
tinge of sexual attraction, their connection is born of a mutual need for emotional release. Finally, Joe's stubborn
gregariousness infects the others in a subtle way; even though Finbar and Olivia outwardly dismiss his optimism, by
the film's closing minutes they can't live without him. It's the mature relationships between the three that elevates
The Station Agent to an unforgettable study of the need for companionship.
The film's backdrop and surroundings match the isolationist theme of the picture, from the small train station to the
backwoods emptiness of the town. Weaving Finbar, Olivia, and Joe through the tapestry of McCarthy's world of discovery
from despair becomes a poignant statement about the healing process because the juxtaposition of the world around
them allows the characters' dilemma to stand out. Moreover, Oliver Bokelberg's striking cinematography only adds
to the sense of an effective amalgamation of themes and vision.
The Station Agent boasts some of the best performances of the year; Dinklage, Clarkson, and Cannavale
are all outstanding. Dinklage finds the perfect balance between veiled disgust and hopeful anticipation, Clarkson
shines yet again in another moving effort, and Cannavale oozes affability without becoming abrasive. Clarkson has
the most difficult role here, and she manages her character with an efficiency that bolsters her range. They combine
to form one of the best ensembles in recent memory.
The Station Agent won the Audience Award at Sundance this year, and it has found wild popularity with almost
everyone who has seen it. This is the type of film that deserves a wider release, but at least it will certainly find a following
once it's on video. McCarthy has accomplished the enviable goal of providing characters who are believable, placed
them in a world of simplicity and authenticity, and allowed his cast to work their magic. When Finbar finds hope in the
midst of despair, it's hard not to be inspired by a man whom society has dismissed.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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