Audry (Adrienne Shelly) is a brainy and beautiful girl living in Long Island. She has just been accepted to Harvard, no less, but has to bargain with her father about attending the famous school. She is just turning 18 and wants to major in literature. Father insists on her getting a part time job and choosing to study communications. At this moment on LI, also, a convicted man has just returned to his home turf. His name is Josh and no one is sure what he did, but it seems that he killed two or more people. Audry has a chance meeting with him and is smitten. She even gets him a job at her father's automobile shop. How in the world is this a match made in heaven? No description is really adequate to relate the events in this film. Rather than plot driven, it is a quirky, intelligent film where conversation and the unexpected reign mightily. The script is just stunning. Where else, I might suggest, can you view a film that offers explanations on the merits of Moliere's Misanthrope and the workings of a car's transmission apparatus? All of the actors, the costumes, the look, and the direction of the film are very, very worthy, too. (Sadly, Ms. Shelly was murdered in 2006 in NYC). There is a smattering of bad language and the subject matter is adult, so the movie is not suitable for an underage audience. Nevertheless, if you definitely want to take a walk down the aisle of vintage, independent films, pick this one up without delay. It is a gem, even years after its creation.
32 Reviews
The dialogue is spot on and it is a joy to watch
christopher-underwood14 January 2020
It would be true to say that there is not much action here, no bloody fights or car chases but it is just so endearing. Adrienne Shelly and Robert John Burke do well as lost idealist and not so new man in town respectively but everyone contributes. Hal Hartley performs magic with his inexperienced cast to involve us so inextricably with a developing and very human situation that really has nowhere to go. The dialogue is spot on and it is a joy to watch the character interchange and feel the tangible electricity between this disparate group as the electricity of past events, much mistold, unravel and retie. Masterful.
A cute and quirky, offbeat romantic comedy
DennisLittrell4 February 2002
What we have here is an indie romantic comedy, adorably done. Adrienne Shelly, who is petite and cute and pale as winter snow, stars as Audrey Hugo, a mechanic's daughter who has been accepted at Harvard (or so she says) but has no intention of going. She is obsessed with what she sees as the inevitability of nuclear war and attendant horrors, which she reads about aloud to herself and anyone who will listen.
It is 1988 and this is Long Island, New York, although it looks a lot like Jersey to me. Certainly this is not the high rent district of Long Island. Her boyfriend is shallow and doesn't listen to her. Her father thinks she ought to go to the local community college which he notes is a whole lot cheaper than Harvard. She is bored with her senior year at high school and usually cuts.
Enter tall, handsome, dressed all in black Robert Burke as Josh Hutton just released from prison. People who meet him ask, "Are you a priest?" He answers, "I'm a mechanic." And indeed he is an especially wondrous one who, of course, goes to work for Audrey's father, Vic Hugo (Chris Cooke) and becomes invaluable. Although it seems that Josh killed a girl and then the girl's father some years ago, we of course know from the title and from Josh's obviously sterling character that the "unbelievable truth" must be otherwise. And of course so does Audrey who is immediately smitten with him. But Josh is apparently practicing something like celibacy ("Are you a priest?") and rebuffs Audrey's advances, thereby initiating a whole slew of romantic misunderstandings wittily tossed about by director Hal Hartley along with some spiffy Mamet-like dialogue.
Now enter a photographer who makes Audrey into a fashion model, first her feet, but eventually the entire petite torso. Physically she moves to New York City, but her heart is still with Josh at her dad's auto repair shop. She even carries Josh's wrench in her handbag, with which she threatens the photo guy when he tries to get too close.
What makes this film a delight in spite of all the obvious elements and the predictable complications is the original, independent and sparkling character of Audrey, the true blue integrity of Josh, some clever and funny dialogue, and a kind of warm puppy feel usually the signature property of a Nora Ephron film starring Meg Ryan.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
It is 1988 and this is Long Island, New York, although it looks a lot like Jersey to me. Certainly this is not the high rent district of Long Island. Her boyfriend is shallow and doesn't listen to her. Her father thinks she ought to go to the local community college which he notes is a whole lot cheaper than Harvard. She is bored with her senior year at high school and usually cuts.
Enter tall, handsome, dressed all in black Robert Burke as Josh Hutton just released from prison. People who meet him ask, "Are you a priest?" He answers, "I'm a mechanic." And indeed he is an especially wondrous one who, of course, goes to work for Audrey's father, Vic Hugo (Chris Cooke) and becomes invaluable. Although it seems that Josh killed a girl and then the girl's father some years ago, we of course know from the title and from Josh's obviously sterling character that the "unbelievable truth" must be otherwise. And of course so does Audrey who is immediately smitten with him. But Josh is apparently practicing something like celibacy ("Are you a priest?") and rebuffs Audrey's advances, thereby initiating a whole slew of romantic misunderstandings wittily tossed about by director Hal Hartley along with some spiffy Mamet-like dialogue.
Now enter a photographer who makes Audrey into a fashion model, first her feet, but eventually the entire petite torso. Physically she moves to New York City, but her heart is still with Josh at her dad's auto repair shop. She even carries Josh's wrench in her handbag, with which she threatens the photo guy when he tries to get too close.
What makes this film a delight in spite of all the obvious elements and the predictable complications is the original, independent and sparkling character of Audrey, the true blue integrity of Josh, some clever and funny dialogue, and a kind of warm puppy feel usually the signature property of a Nora Ephron film starring Meg Ryan.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
Are you a priest or something?
daver-430 January 1999
This is a great movie! When I went to see it in 1990, I had no idea what it was about. I had a pass for a free screening. What luck that was--I have not been the same since. I love deadpan comedies, and this one is the best I've seen--it paved the way for Welcome to the Dollhouse and Bottle Rocket in 1996, and director Hal Hartley has become a well-known figure in the art house scene (too bad he has never been able to duplicate the success of his first movie). Robert John Burke plays the ex con mechanic, mistaken as a man of the cloth by several characters. Adrienne Shelley (where is she now?) plays the depressed teenager who falls in love with him, despite his mysterious past (did he really kill her best friend's sister?) Shelley appeared in Hartley's second film, Trust, and then made a low budget teen comedy (can't think of the title). Burke went on to replace Peter Weller as RoboCop and star in "Thinner." What a waste of two great talents! This movie has it all--romance, comedy, a quirky soundtrack, George Washington obsession, fun with crescent wrenches, and just a bit of drama. "Listen......bombs." See it!
THE UNBELIEVABLE TRUTH briskly augurs Hartley's cottage-industry, outlier-hinged hallmark that is brimful of pleasurable absurdity and sensible geniality
lasttimeisaw3 December 2018
New York kooky indie-moviemaker Hal Hartley's feature debut, THE UNBELIEVABLE TRUTH tantalizes a somewhat morbid idea that can a reformed manslaughter-convicted ex-con gets a second chance in his hometown where the crime was perpetrated? Freshly out of prison, Josh (Burke) returns to Long Island where his felony has been disproportionately mythologized, he impresses auto-repair shop owner Vic Hugo (Cooke, enjoy some unorthodox outpourings that are rarely seen in a materialistic father) with his autodidactic mechanic skill, therefore he is hired.
Meanwhile, Vic's teenage daughter Audry (Shelly, in her film debut), saturated in her own teen angst, becomes world-weary with nuclear-induced eschatology, she dumps her obsessive boyfriend Emmet (Sauer) and in turn, takes a shine to the reticent Josh, only the latter chooses to suppress his reciprocal feelings and cautiously declines her advancement, clearly learning from his past misdeeds, Josh's celibate stoicism and dark get-up frequently prompts a question from strangers "are you a priest?".
A rebellious and disgruntled Audry procrastinates her college education and takes a bash at modeling, and soon becomes the talk of the small community as she starts to bare all in the magazine spreads. So what does it take to bring the two drifting-apart lovebirds together? The titular "truth" becomes an operative ice-breaker when the manslaughter myth comes clean in a belated confession of the sole witness.
Basking in a loopy, small-town monotony under a simmering temperature that characteristically flags up Audry and Josh's peculiarity, Hartley's meet-cute anachronistically finds a kindred spirit in Todd Solondz's faux-naïf comedies, and juxtaposing Adrienne Shelley's impish wackiness with Robert John Burke's four-square stolidness, chemistry has been incredibly cooked up, to validate that underneath their respective volatile and impassive surfaces, indeed, it is just two tender hearts hankering for a connection to retain some self-worth in a nihilistic fable.
Rounding up a coterie of game players (a puckish Edie Falco included) and shot with pristine efficiency and a low-key kuso-inflected smugness, at the end of the day, THE UNBELIEVABLE TRUTH briskly augurs Hartley's cottage-industry, outlier-hinged hallmark that is brimful of pleasurable absurdity and sensible geniality.
Meanwhile, Vic's teenage daughter Audry (Shelly, in her film debut), saturated in her own teen angst, becomes world-weary with nuclear-induced eschatology, she dumps her obsessive boyfriend Emmet (Sauer) and in turn, takes a shine to the reticent Josh, only the latter chooses to suppress his reciprocal feelings and cautiously declines her advancement, clearly learning from his past misdeeds, Josh's celibate stoicism and dark get-up frequently prompts a question from strangers "are you a priest?".
A rebellious and disgruntled Audry procrastinates her college education and takes a bash at modeling, and soon becomes the talk of the small community as she starts to bare all in the magazine spreads. So what does it take to bring the two drifting-apart lovebirds together? The titular "truth" becomes an operative ice-breaker when the manslaughter myth comes clean in a belated confession of the sole witness.
Basking in a loopy, small-town monotony under a simmering temperature that characteristically flags up Audry and Josh's peculiarity, Hartley's meet-cute anachronistically finds a kindred spirit in Todd Solondz's faux-naïf comedies, and juxtaposing Adrienne Shelley's impish wackiness with Robert John Burke's four-square stolidness, chemistry has been incredibly cooked up, to validate that underneath their respective volatile and impassive surfaces, indeed, it is just two tender hearts hankering for a connection to retain some self-worth in a nihilistic fable.
Rounding up a coterie of game players (a puckish Edie Falco included) and shot with pristine efficiency and a low-key kuso-inflected smugness, at the end of the day, THE UNBELIEVABLE TRUTH briskly augurs Hartley's cottage-industry, outlier-hinged hallmark that is brimful of pleasurable absurdity and sensible geniality.
Original movie that started a whole genre of Indy films
Joel_Goodsen15 June 2005
Clever Indy film-making at it's best!!! This film jump started a genre. Hal Hartley's masterpiece brims with clever dialogue and funny performances. Adrianne Shelley is a standout as Audrey who is convinced that the world is soon to blow up. Chris Cooke should be getting a lot more work after his winning performance as Vic Hugo. He's a delight to watch as his daughter Audrey bargains with him on about going to college. And Robert Burke is great as the quiet Josh, the returning man with a past. You catch something new every time with this film ... like the funny way everyone fights in the movie (elaborate pushing matches). An original film and thoroughly enjoyable. Great soundtrack too ... under Hal Hartley's alias of Ned Rifle. Highly recommended ... and definitely more than worth than 50¢ at your video rental and won't put you to sleep if you like original, clever, landmark Indy films like this one is.
Putting human behavior in perspective.
inioi24 January 2016
Usually, some films tends to create drama, and through the script and the music is enhanced and magnified. In this movie, is exactly the opposite: a story that could have been a far-fetched drama, becomes as if by magic, in something light, and stripped of the the tragic and calamitous burden.
In some characters can be seen a decrease of identification with their own feelings, which is transformed into understanding, acceptance, forgiveness. This attitude is so rare in real life, that the movie takes on a surreal tinge.
In the end, as in some other (few) movies, there is no good and bad .... just humans.
A beautiful and unusual view of human relationships, in which everything could be simpler.
7.5 / 10
In some characters can be seen a decrease of identification with their own feelings, which is transformed into understanding, acceptance, forgiveness. This attitude is so rare in real life, that the movie takes on a surreal tinge.
In the end, as in some other (few) movies, there is no good and bad .... just humans.
A beautiful and unusual view of human relationships, in which everything could be simpler.
7.5 / 10
Hal Hartley's best movie
Nocular30 January 1999
One of my (maybe even "the") all time favorite movies.
A film about some average people, basically. Maybe a bit weird, some of those people, but that's how people are, if you look closely. What makes it so rewatchable for me are the wonderful dialogues and the wonderful characters. They feel so true.
IMHO, the very tight budget and schedule helped this movie become so good. It is so... concise. Hardly a word or scene wasted.
If you like movies by Jim Jarmusch or Richard Linklater, you might like this one, too.
A film about some average people, basically. Maybe a bit weird, some of those people, but that's how people are, if you look closely. What makes it so rewatchable for me are the wonderful dialogues and the wonderful characters. They feel so true.
IMHO, the very tight budget and schedule helped this movie become so good. It is so... concise. Hardly a word or scene wasted.
If you like movies by Jim Jarmusch or Richard Linklater, you might like this one, too.
The Debut of Hal Hartley
claudio_carvalho15 January 2022
After serving in prison for manslaughter, Josh (Robert John Burke) returns tohis home town looking for a job as mechanic, the profession that he learned in prison. Meanwhile, the teenager Audry (Adrienne Shelly) is accepted by Harvard, but her father Vic Hugo (Chris Cooke) cannot afford and suggests her to go to the community college. Audry leaves home, dumps her high-school boyfriend and stumbles upon Josh. Audry indicates her father Vic's auto repair shop and Josh find a job with him. Audry has an immediate crush on Josh, but is rejected by him that is afraid to lose his job with Vic. She decides to move to New York to be a successful photographic model. When her parents learn that she is posing nude, Vic sends Josh to New York to bring her back. But secrets are disclosed affecting the lives of Josh and Audry.
"The Unbelievable Truth" is a very low-budget romantic black comedy and the debut of Hal Hartley. The film is weird but entertaining, and in the 90's, when was released on VHS in Brazil, was funnier and better. Revisiting now, it is dated but also worthwhile watching. My vote is six.
Title (Brazil): "Uma Relação Muito Perigosa" ("A Very Dangerous Relationship")
"The Unbelievable Truth" is a very low-budget romantic black comedy and the debut of Hal Hartley. The film is weird but entertaining, and in the 90's, when was released on VHS in Brazil, was funnier and better. Revisiting now, it is dated but also worthwhile watching. My vote is six.
Title (Brazil): "Uma Relação Muito Perigosa" ("A Very Dangerous Relationship")
Unbelievable dialogue makes for refreshing fun
Arcana1310 May 2001
Not Hartley's best, though I still rate it a ten. Hartley began his odd spin on movie dialogue with this (not quite) debut film. Adrienne Shelley is beautiful and perfectly cast--it's very difficult to tell if she is a brilliant actress or merely brilliantly directed. Martin Donovan (for him it's not difficult to tell--he's brilliant) is understated, yes, everyone says that, and mysterious. The B Movie backup cast leaves something to be desired, but somehow that helps propel this odd little gem. Only David Mamet has the same level of idiosyncratic brilliance in scripting dialogue which, while not particularly true to life, is refreshingly new and always entertaining. Hartley revels in repetition and the use of the pause. People don't talk like this, but then again, they do, just not in films. 'Henry Fool' and 'Book of Life' are his best, but this early work is indispensable.
7.2/10. Recommended
athanasiosze12 February 2024
This is so unique that even if you don't like it, it's worth watching. It's a 1989 movie but in its way, it is "foreshadowing" the 90's. To be more precise, this definitely was a big influence for 90's indie cinema. It's weird but simultaneously "warm hearted" and appealing. Every character here is likeable, and the "murderer" even more. I can't rate it higher because it's not mindblowing or very interesting, i mean, it's a simple story and the characters are not that multilayered. However, i could easily watch another movie with the same exactly characters just interacting with each other. I am gonna watch other Hartley movies for sure.
charming indie classic
framptonhollis20 February 2017
"The Unbelievable Truth" is a funny and often beautiful film that seeks to find the sweet and humorous within the darkest of subject matter. At times it is darkly comic and borderline cynical, while at others it is extraordinarily romantic and melodramatic. These two tones do not clash and conflict like one would expect, instead they both morph into one another- showcasing the ups and downs of life. During a very dramatic scene, writer-director Hal Hartley will sneak in a hilarious moment or line and masterfully weave it into the moment in such a way that it feels natural rather than rough.
For a film shot on such a low budget, it is highly impressive in almost every conceivable manner. However, it naturally is littered with flaws that distracted me from the movie watching experience. The sound design can be awful at times because of the sometimes constant cutting in and out of audio-reminiscent of the infamous "Birdemic" (although it isn't nearly as bad or as noticeable). Also, while some of the performances are pretty great and, at times, hilarious, some of them are overly wooden and annoying. It also feels as if its trying a little too hard to be quirky and different at times, plus its got some pacing issues and felt a lot longer than 90 minutes to me, which is only a minor complaint in this case because what was going on during those 90 minutes was fascinating.
Since this movie is so beautiful and tender in its humor and romance, I recommend it for most audiences who can handle a slightly slower and more "artsy" little movie.
For a film shot on such a low budget, it is highly impressive in almost every conceivable manner. However, it naturally is littered with flaws that distracted me from the movie watching experience. The sound design can be awful at times because of the sometimes constant cutting in and out of audio-reminiscent of the infamous "Birdemic" (although it isn't nearly as bad or as noticeable). Also, while some of the performances are pretty great and, at times, hilarious, some of them are overly wooden and annoying. It also feels as if its trying a little too hard to be quirky and different at times, plus its got some pacing issues and felt a lot longer than 90 minutes to me, which is only a minor complaint in this case because what was going on during those 90 minutes was fascinating.
Since this movie is so beautiful and tender in its humor and romance, I recommend it for most audiences who can handle a slightly slower and more "artsy" little movie.
execution not quite there
SnoopyStyle17 November 2015
Josh Hutton (Robert John Burke) leaves prison and returns into town. Pearl is shocked by his return. Audry Hugo (Adrienne Shelly) is a depressed cynical teen. She is accepted into Harvard but doesn't see the point of going. Her boyfriend is callous to her concerns. She suggests a mechanics job at her dad's garage to Hutton. Everybody starts to speculate what he actually did.
Hal Hartley has written some mannered and artificial dead pan humor. I actually like that but it has to be delivered expertly. The delivery is lacking from most of these actors and the directing is not quite there. I can see good potential for something great. Adrienne is not really young enough for the teen role. Her character could have been written as a twenty something. Overall, this is an interesting indie that could have been more compelling.
Hal Hartley has written some mannered and artificial dead pan humor. I actually like that but it has to be delivered expertly. The delivery is lacking from most of these actors and the directing is not quite there. I can see good potential for something great. Adrienne is not really young enough for the teen role. Her character could have been written as a twenty something. Overall, this is an interesting indie that could have been more compelling.
A warm little tale ...
charishankar3 September 2011
Mind you, it's a wafer thin storyline. A heart-warming little story of an ex-convict returning to a city, and the infatuation of the local Lolita has for him, it touches you, ever so softly, from behind the facade of the boisterous small town existence and the foibles of the small group of townspeople who form the nucleus of the story. At the end of it, you're glad you sat down to watch it - it's a laid-back mind-soother, which leaves you with a warm feeling all over.
What elevates the film by several rungs is, however, the superb performance of Robert Burke as the mercurial, unpredictable and enigmatic Joshua Hutton, who leaves you ambivalent about his real intentions till the very end, when all is revealed. Supporting him, ably, is the petite Adrienne Shelly, who may not be strictly pretty, but has an elfin charm - not really a little girl any more, but not yet a woman. They complement each other perfectly, and it is this chemistry that makes the film glow, and forms the perfect foil to the humdrum backdrop of everything else that is going on.
It's rewarding, and relaxing, viewing - a perfect de-stresser, if there ever was one. If you can get hold of a copy, hold on, tight.
What elevates the film by several rungs is, however, the superb performance of Robert Burke as the mercurial, unpredictable and enigmatic Joshua Hutton, who leaves you ambivalent about his real intentions till the very end, when all is revealed. Supporting him, ably, is the petite Adrienne Shelly, who may not be strictly pretty, but has an elfin charm - not really a little girl any more, but not yet a woman. They complement each other perfectly, and it is this chemistry that makes the film glow, and forms the perfect foil to the humdrum backdrop of everything else that is going on.
It's rewarding, and relaxing, viewing - a perfect de-stresser, if there ever was one. If you can get hold of a copy, hold on, tight.
Hartley's style isn't for the casual viewer
abchulett22 April 2006
Long Island auteur Hal Hartley writes, directs, and co-produces his first feature film. His second, "Trust," has more polish and a better reputation, but "The Unbelievable Truth" has plenty to recommend it. Hartley came onto the scene as kind of a Generation X independent film voice, and while the acting quality in this feature debut is more uneven than in subsequent efforts, his almost surreal approach to dialogue, situations, and characterization is intact right out of the gate.
The story is of a man who comes back to his hometown after years in prison, and the young girl he meets once he gets there. As in "Trust," Hartley uses coincidences to underline the intersecting lives and fates of his characters, and his characterization emphasizes the random way in which so many of us foolishly let our hearts lead us around rather than our heads...although ultimately the day belongs to those who are able to conquer this tendency.
While Hartley forcefully instructs his actors to play their lines totally deadpan as much as possible, the situations and character reactions lead to lots of uproarious laughs that will not be evident to many viewers if they're expecting sitcom-type humor, and the way his plots twist is a joy. For the sophisticated movie fan, Hartley's films are extremely interesting and a terrific exercise in watching a true original at work.
The story is of a man who comes back to his hometown after years in prison, and the young girl he meets once he gets there. As in "Trust," Hartley uses coincidences to underline the intersecting lives and fates of his characters, and his characterization emphasizes the random way in which so many of us foolishly let our hearts lead us around rather than our heads...although ultimately the day belongs to those who are able to conquer this tendency.
While Hartley forcefully instructs his actors to play their lines totally deadpan as much as possible, the situations and character reactions lead to lots of uproarious laughs that will not be evident to many viewers if they're expecting sitcom-type humor, and the way his plots twist is a joy. For the sophisticated movie fan, Hartley's films are extremely interesting and a terrific exercise in watching a true original at work.
Pretty Movie.
SameirAli28 February 2017
The movie begins when Josh is walking on the road, waiting for a lift. He was offered lift by some people, but kicked out when the learn that Josh is coming from a prison. Josh killed his girl friend in drink and drive. Later he visits her father and he was killed during their fight.
Audry is a confused teenager. Just waiting for the end of the world. Josh gets his job as a mechanic in Audry's father's garage.
Hal Hartley is always good in presenting his simple but beautiful films. A great director. This movie was filmed in just 11 days.
A must watch. highly recommended.
#KiduMovie
Audry is a confused teenager. Just waiting for the end of the world. Josh gets his job as a mechanic in Audry's father's garage.
Hal Hartley is always good in presenting his simple but beautiful films. A great director. This movie was filmed in just 11 days.
A must watch. highly recommended.
#KiduMovie
Amazing. What's this fashionable movie? When did it released?
Aoi_kdr23 July 2019
A beauty had eschatology and a man who had a tough memory just got out of prison.
Taking a step back, the setting is common for girls comics. But I got the butterflies! I liked their talking with intelligence very much.
It looks difficult to believe only what you see. But it's more worth than "the truth" which you get only by books and history. If the world was kept going by "Give and take," it would be boring. I want at least things in front of me if it will come to an end. No voice, no gain. It's not built only on logic.
It looks difficult to believe only what you see. But it's more worth than "the truth" which you get only by books and history. If the world was kept going by "Give and take," it would be boring. I want at least things in front of me if it will come to an end. No voice, no gain. It's not built only on logic.
welcome to the unique world of Hal Hartley
mjneu5912 January 2011
"The world's not going to end when so many people are making so much money!" says a single-minded, suburban blue-collar father to his nihilistic, fashion-model daughter, who would rather contemplate Armageddon than pursue a higher education. The emotional toll of such misplaced priorities is stylishly satirized in director Hal Hartley's debut feature, a small town mock-Gothic parody of skewed personal relationships in the money-hungry 1980s. The setting is ostensibly somewhere on Long Island, but from Hartley's perspective it all takes place in a slightly off-kilter universe, tracing the ripple effect caused by the return home of a handsome, taciturn ex-convict (and mass murderer?) who admits to no ambitions other than the Tao of auto mechanics, the discipline of celibacy, and a profound interest in the life of George Washington. It all adds up to nothing more than a deadpan shaggy dog joke, never going anywhere in particular but finally arriving at just the right destination, with help from some crisscrossing, crazy-yet-formal dialogue reminiscent at times of a Preston Sturges script adapted by Jim Jarmusch.
What's the buzz?
Reid-1421 December 2000
I surely don't understand the hype which surrounds this movie. Yes, it has a certain indie edginess to it, but the script is mostly annoying and the acting is dreadful. This film is, indeed, unbelievable, but not even remotely connected to any truth I know of.
Early Hartley Worth the Effort
gpadillo5 January 2004
Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively and simultaneously complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively and simultaneously complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
Perfect movie for the college crowd
susansweb20 December 2001
I first saw this movie when I was 22 and I thought it was fantastic. I have seen it several times since then and each time I enjoy it but I don't have the enthusiasm that I once had. That might be, because every Hal Hartley movie I have seen since (three others) is exactly the same in dialogue, acting and direction. But enough on the negative. The positive - the cast: Robert Burke, Adrienne Shelley and the rest do a great job. I really enjoyed the dialogue, there doesn't seem to be a wasted word and all of the push fighting. How come Seagal doesn't try that? So, in summary, this is the best Hartley film so far.
First time and hooked on Director
Bullitt337 September 2023
Big fan of the Criterion Channel (streaming) and this month they released a new collection based upon the works of director Hal Hartley, whom I'd never heard of before.
There's an overall tone with this movie which is a little Michael Lynchey (without the weirdness), but even more like an American version of Hong Kong director Wong Kar-Wai's style. Not in terms of WKW famous cinematography, but in other aspects of tone and story. Like WKW, there is subversive quality of this film that is hard to pin down where the movie doesn't come off as immediately good. You just have to sit there and marinate in the work and it sort of starts to wash over you. And while I generally fall for 80s movie, I also really like 80s movies that don't necessarily feel like or contain all the tropes of 80s movies--of which this is one.
This film has a very 90s indie feel generally (NOT mumblecore). I'm thinking of Linklater's earliest works and for some reason George Sluizer's The Vanishing (1989). The scene between Josh (Robert John Burke) and Jane (Omgosh that was Edie Falco!?) that goes:
Jane: '"That girl is crazy." Josh: "I know, but I like her." etc.
...was understatedly hilarious.
Audry and Pearl (Julia McNeal--resembles Gillian Jacobs) are super pretty, but edge goes to Audry (Adrienne Shelly, RIP--tragic 2006 death--read her wiki).
Maybe because I have Woody Allen on-the-mind currently, just as a general plot, I could see this situation coming from the pen of Allen (not the prose/dialog style).
My only real critique was that The dad character (Chris Cooke) was easily swayed in multiple directions (but perhaps that's simply his character trait) and there was a lot of situational/plot convenience during act 3. Some of the time jumps seem a little too abrupt (pacing and cutting-wise) and like script training wheels as well.
But overall I really enjoyed the movie and am looking forward to diving into the filmography of Hal Hartley.
There's an overall tone with this movie which is a little Michael Lynchey (without the weirdness), but even more like an American version of Hong Kong director Wong Kar-Wai's style. Not in terms of WKW famous cinematography, but in other aspects of tone and story. Like WKW, there is subversive quality of this film that is hard to pin down where the movie doesn't come off as immediately good. You just have to sit there and marinate in the work and it sort of starts to wash over you. And while I generally fall for 80s movie, I also really like 80s movies that don't necessarily feel like or contain all the tropes of 80s movies--of which this is one.
This film has a very 90s indie feel generally (NOT mumblecore). I'm thinking of Linklater's earliest works and for some reason George Sluizer's The Vanishing (1989). The scene between Josh (Robert John Burke) and Jane (Omgosh that was Edie Falco!?) that goes:
Jane: '"That girl is crazy." Josh: "I know, but I like her." etc.
...was understatedly hilarious.
Audry and Pearl (Julia McNeal--resembles Gillian Jacobs) are super pretty, but edge goes to Audry (Adrienne Shelly, RIP--tragic 2006 death--read her wiki).
Maybe because I have Woody Allen on-the-mind currently, just as a general plot, I could see this situation coming from the pen of Allen (not the prose/dialog style).
My only real critique was that The dad character (Chris Cooke) was easily swayed in multiple directions (but perhaps that's simply his character trait) and there was a lot of situational/plot convenience during act 3. Some of the time jumps seem a little too abrupt (pacing and cutting-wise) and like script training wheels as well.
But overall I really enjoyed the movie and am looking forward to diving into the filmography of Hal Hartley.
I love this film
rdoyle2931 January 2023
Robert John Burke returns to his home town on Long Island after serving a prison sentence. Nobody seems to remember exactly what happened except that he killed his girlfriend and her father. They are wary of him, but not inclined to do much of anything about it. In prison he learned to be an auto mechanic, and he's quite skilled, so garage owner Chris Cooke hires him despite the wariness.
Adrienne Shelly is Cooke's daughter. She is obsessed with the threat of nuclear war and has stopped going to school or doing much of anything. She encounters Burke and is immediately stricken by his mysterious stillness. They develop feelings for each other, but he's much older and (possibly) a mass murderer.
There's more plot (Shelly becomes a model), but the film is essentially a circle of quietly odd characters having wonderfully odd conversations.
I love this film.
Burke and Edie Falco (a waitress at the local diner) have a scene where they have the same conversation four times in a row.
Shelley's mom (Katherine Mayfield) is "gardening" while taking to Cooke, but all she's really doing is sticking plastic flowers in the ground.
Cooke's name is "Victor Hugo".
Adrienne Shelly is Cooke's daughter. She is obsessed with the threat of nuclear war and has stopped going to school or doing much of anything. She encounters Burke and is immediately stricken by his mysterious stillness. They develop feelings for each other, but he's much older and (possibly) a mass murderer.
There's more plot (Shelly becomes a model), but the film is essentially a circle of quietly odd characters having wonderfully odd conversations.
I love this film.
Burke and Edie Falco (a waitress at the local diner) have a scene where they have the same conversation four times in a row.
Shelley's mom (Katherine Mayfield) is "gardening" while taking to Cooke, but all she's really doing is sticking plastic flowers in the ground.
Cooke's name is "Victor Hugo".
you heard it, so you know it
lee_eisenberg21 January 2023
By 1989, the arthouse cinema scene was well established, with John Sayles, Gus Van Sant, Jim Jarmusch and Spike Lee as the primary doyens. A lesser known member of the genre is Hal Hartley. I first learned of him from 1997's "Henry Fool", but his debut was "The Unbelievable Truth".
This movie focuses on the relationship between an ex-con (Robert Burke) and a local woman (Adrienne Shelly) convinced that nuclear annihilation is just around the corner. Their relationship is never idealistic or perfect, and the movie has plenty of rough characters. Basically, this is just about the best example of indie cinema from my childhood, although I only now got around to seeing it. Adrienne Shelly starred in some movies after this one before her tragic murder in 2006.
Anyway, worth seeing. Watch for a young Edie Falco as the waitress.
This movie focuses on the relationship between an ex-con (Robert Burke) and a local woman (Adrienne Shelly) convinced that nuclear annihilation is just around the corner. Their relationship is never idealistic or perfect, and the movie has plenty of rough characters. Basically, this is just about the best example of indie cinema from my childhood, although I only now got around to seeing it. Adrienne Shelly starred in some movies after this one before her tragic murder in 2006.
Anyway, worth seeing. Watch for a young Edie Falco as the waitress.
The only question is: Is it bad enough to be good?
escoles30 December 2003
This was one of the most deeply awful movies I can recall ever seeing. It mixed high-dramaturgy with low production values and a sense of deep self-seriousness that makes it difficult for me to understand why people found it amusing. Poor acting, bad dialog, awkward blocking...where do I stop?
And yet, I suppose that a few beers and some good friends could transform it into a bonding experience....
And yet, I suppose that a few beers and some good friends could transform it into a bonding experience....
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