A Slipping Down Life (1999)

I just caught this film on IFC late one night and was drawn to it by two actors I've always admired in other films: Lili Taylor and Guy Pearce.Although Lili delivered her usual unique, offbeat take on a complicated character, I was especially impressed by Guy Pearce, an Aussie who nailed the Carolina dialect and surprised me by his musical acuity. I found him as magnetic as Evie/Lili did, though you wouldn't find me carving his name on my head for love or money! But I get why she did it. She's living a stultifying quiet life, wondering if she could just disappear off the face of the earth and probably no one but her devoted Dad would notice. She looks in the mirror and sees a plain, blank face and slumps through her plain, blank life. Several people have commented that his almost grunge musical stylings are way ahead of their 60's time setting, although I found no difficulties accepting that premise. Evie sees him as ahead of his time and bursting with potential, while the rest of the town (with the exception of the hoochie women attracted to his fine physique) just view him as a weirdo. And I think that's the bond that eventually makes him fall for wise and weird little Evie.I missed the first few opening credits so I didn't notice that this was an Anne Tyler concoction. But halfway through the movie I found myself thinking that the internal lives of these characters were very reminiscent of Tyler: Think about Geena Davis' quirky and devoted dog trainer pursuing the emotionally stunted William Hurt in "The Accidental Tourist," and you can see the parallels.No, this wasn't a "great" film in the Hollywood mode, but so what? It moved me. I was drawn in and wondered how their lives played out at the end. They probably should have headed for Seattle, where young Drum could have found himself giving Kurt Cobain a run for his money later on. Pearce himself should think about diversifying into a musical career: what a voice and presence! Not a flick for everyone, but it will hit home to those who are able to suspend their disbelief and "be there" for it.

I watched this movie on a rainy day when I had nothing else to do...and b/c it has Guy Pearce. I usually find Lily Taylor really annoying and strange but she does pull innocent off well. So many moments in this movie are AWKWARD. LOL but I found her father poignant and wistful. One other commenter mentioned that there were 13 original songs- one of the songs is Elizabeth Jade which I recognized instantly as a Robyn Hitchcock song (Jewels for Sophia album). It did break my heart to see Evie's father in law insult her in front of her own father. As a parent thats hard to see... Another thing: Guy Pearce is obviously a super attractive man usually. But I do NOT understand how any of the woman here thought he was so great- his character that is- was gruff and he just spoke a lot less than I prefer out of a man. I'm surprised he didn't just grunt through the movie. He does have a good accent. This movie is depressing. I never read the book and I don't plan to but based on the other comments here it does seem as though Evie's character should of remained a teenager. Irma P. Hall was hilarious and thank god for her role/character - it lent some much needed lightness.

This film left me with a special feeling. It wasn't that all the elements came together in the way one would normally expect from a film, they didn't. But the mood and feel of this film is special, real, and different. Both LiLi Taylor and Guy Pearce (who happens to be Austrailian with dead-on southern dialect) do a wonderful job with their characters, as well as many of the supporting cast. As I grew up in a small town in the South in the 70s and 80s, the film actually captured the mood and setting surprisingly well. I do remember what a big deal the local paper and radio were. I remember going to clubs not unlike the ones portrayed in the film. I remember the local popular bands. Anyway, I don't expect that all the films I like to build off the same formula for success. There are a lot of things I'm sure one could criticize this film for, but I'm grateful for this film and for the way it was made - to have corrected some of the flaws would have altered the mood.

I am a fan of Flannery O'Connor's Southern gothic, the kind of short stories that define `grotesque,' where humor is slow, characters are off center, defects abound, and life is a series of stops along the born-again trail. First-time writer/director Toni Kalem (`Sopranos') channels O'Connor when a lady sitting in an early scene of `A Slipping Down Life' has a large wound on her knee, not featured but just there as the camera pans the group.Besides minor grotesqueries, the major one consists of the name Evie Decker (Lili Taylor, `Casa De Los Babys') inversely carves on her forehead with broken glass: `Drumstrings. ' `Drum' Casey (Guy Pearce, `Memento') is a soulful country singer catching wallflower Evie's fancy, implausibly marrying her, and along with her going through a few hells on the road to rebirth. The thirteen original songs Pearce sings are melancholic country, all the more impressive because of his singing.The road is littered with Southern stereotypes (O'Connor never allowed those types in her very original stories) like Clotelia (Irma P. Hall, `Lady Killers'), whose black housekeeper is a true throwback to unoriginal Hollywood typing of the early 20th century. Add Drum's rube family members and slutty Faye-Jean Lindsay (Shawnee Smith) as an oversexed, overacting girl friend and you have an inexperienced director ignoring the nuances of Anne Tyler's novel, from which Kalem adapted.But `A Slipping Down Life' belongs to Lili Taylor, who gives us a sympathetic young virgin, lovingly attached to her introverted widower father and doggedly determined to make something of Drum's talent and her life. Her underplayed demeanor and plain looks offset the grotesque mark on her forehead; her strength of character ("I've never backed down on anything in my life") serves further to distance her from the usual Southern hicks so popular in immature cinema. In his `Autobiography,' W.B. Yeats described the link between self and happiness and renewal so much a part of this film's power: `I think that all happiness depends on the energy to assume the mask of some other self; that all joyous or creative life is a rebirth as something not oneself, something which has no memory and is created in a moment and perpetually renewed.'Although the story brings no surprises and repeats some Southern chestnuts, the film ultimately succeeds because of the principals' considerable acting talent and the sheer truth of a young couple trying to escape their tyrannical roots to be reborn.