A Review by Phil Calabro
2005, Miramax/Pathe, Dir. Shona Auerbach - Starring Emily Mortimer, Gerard Butler, Jack McElhone, Mary Riggans, Sharon Small, Sophie Main, Katy Murphy, Sean Brown, Jayd Johnson, Anna Hepburn, Rony Bridges, Douglas Stewart Wallace, Elaine M. Ellis
The first five minutes of 'Dear Frankie' seemed very unpromising. It was hard for me to interpret the muffled Irish sentences by the characters, it jump-started into plot elements that had me confused, and the characters moved slower than slugs. Time passed, and so did the flaws. When looking at the big picture, 'Dear Frankie' is a warming family story that would normally be riddled with cliches and stereotypes, but its perservering mood and general softness manage to break away from these common problems. It never feels obliged to favor the audience with a romantic storyline, or introduce little catchphrases that have some meaning at the end of the movie - it's a casual and loving tale told with caution and careful direction from first-timer Shona Auerbach. 'Dear Frankie' has the honor of already being my favorite movie of 2005 so far, especially since I was so surprised that I saw a gem rather than an old-timer in this genre.
In Ireland, young Frankie Morrison (McElhone) is a deaf child living with his single mother and grandmother in a run-down flat they just moved into. His mother Lizzie (Mortimer) broke up with her husband Davey, a sailor for the military, years ago - and has not spoken to him since then. Yet Frankie still believes that he can contact with his father through a PO Box that his mother tells him about - but Lizzie takes Frankie's letters and writes responses in the guise of his estranged father. Nell (Riggans), her mother, tells her to quit lying and tell Frankie the truth - but Lizzie finds herself in a tough situation before she can do this. The ship that Davey supposed sails on is docking at the local harbor in a week, and Lizzie must find herself a decoy dad because Frankie is expecting to meet him. In a last attempt to avoid breaking his heart, she hires a total stranger (Butler) to play the role. The stranger helps reunite the divides between the family members as well as strongly connect with the young Frankie, who has been yearning for a paternal figure all his life.
Emily Mortimer hits a normally dull note very high in the role of Lizzie Morrison - a straight character that has few noticable attributes, which she nails perfectly. Instead of seeming like a neutral figure in between the stranger and Frankie, the audiences gets a better look into her troubled mindset. She is guilt-stricken from her self-made lies to Frankie, she is not ready to start a new relationship, and is overly protective of her son. Rather than making them a sidenote, Auerbach focuses on her more than expected. The result is an excellent job from the gorgeous Mortimer. Gerard Butler, not exactly the highest caliber actor in town these days, is easily the most likeable character in the entire movie. I couldn't help but feel happier during each of his respective scenes, because his tough-guy attitude added a great contrast against the sweetness of the young Frankie. And for once, a child actor - Jack McElhone - has managed to put a smile on my face. Kids in serious film these days are always overplayed for their innocence, and higher stand against adults, but Frankie is as sweet as could be. I hope for more from this young and talented boy.
Auerbach has made 'Dear Frankie' a relaxing experience. It showcases the typical scenes from this 'Big Daddy'ish sort of movie, but in a lighter and less offensive style. The only real reason this film is PG-13 is because of one unnecessary profanity, but other than that, it's squeaky clean. The storyline really impresses me when what could've been a loophole for the happy romantic ending was nixed entirely, for the purpose of having a more solid message to send. There is certainly a good amount of sexual tension between the stranger (if you think it's weird that I keep mentioning his name so generically, it's because his name is never given) and Lizzie, but the director never wants that to be a dominated plot element. We're more concerned with Frankie, who is tying these very loose situations together.
'Dear Frankie' is a smashing entrance into the better film seasons of the year, despite being shelved at Miramax (go figure) for a year or so. This is a true tearjerker, but a more wholesome one at that. It'll leave with a bittersweet ending that'll make you feel happier after you've seen it. One of this year's best so far, and perhaps of the year as well.
