Lucky (2017)Reviewed By Rob Gonsalves
Posted 11/29/17 06:29:11
(Worth A Look)
Anyone who has ever loved Harry Dean Stanton in one of his two hundred film and TV credits over the last sixty-three years will have to make some time for Stanton’s leading-man swan song "Lucky," even though it’s a bit of a chunk of dry toast, a little too knowingly thrown as a low-key vaya con dios party for him.Stanton plays the title character, who passes his ritualistic days drifting from place to place in a small town. A diner in the morning for coffee and the crossword puzzle. Home to the TV set and Lucky’s “shows” in the afternoon. Out to a bar in the evening. Occasionally he ruminates about life and our purpose in it, and how to face death though he’s pretty sure there’s no God, just darkness. That’s about it.
Lucky is about both Lucky and Harry Dean Stanton, of course. Screenwriters Logan Sparks and Drago Sumonja shaped their work specifically around Stanton, his range (not the widest, but often surprising and inventive within it), and his own life. Inevitably, Stanton doesn’t really seem to be acting; we feel that he’s simply being himself in character as Lucky. Sometimes, as when the film contrives to reunite Stanton with his Alien captain Tom Skerritt, it shows its hand as a construct designed for Stanton to thrive in. On the other hand, seeing Stanton alongside Skerritt again is admittedly a kick, and they do beautiful work together, reminiscing about World War II (more details pulled from Stanton’s life).
What makes Lucky worth indulging is Stanton, naturally, but also the way he refuses to insult this feature-length gesture of affection towards him by giving any less than he’s ever given. He could have rested on his laurels here, coasted, stoically accepted his due — but he doesn’t. He brings levels of melancholy and odd anger to each scene; he keeps us riveted physically, letting his wrinkles and eyebags tell eloquent silent stories. We can’t take our eyes off him, but that’s no doing of point-and-shoot actor-turned-director John Carroll Lynch. Nor can we say the film protects him by putting him up against boring actors, when Stanton butts heads with the likes of Beth Grant, Ed Begley Jr., and the indefatigable David Lynch. Stanton makes his sweetest music with David Lynch, as those who’ve seen Stanton in Lynch’s own films (Wild at Heart, Twin Peaks, etc.) already know.
In and of itself, the movie is arid, visually null. The camera isn’t being used to express much of anything, and so we begin to wonder why, other than to raise a toast to Harry Dean Stanton, this is a movie. Though well-acted, the supporting characters in Lucky’s life feel like supporting characters; with most of them, we don’t feel that they have lives outside the scene and the frame. The exception is Bertila Damas’ store owner, who invites Lucky to her son’s tenth birthday fiesta, leading to a rare and lovely moment in which Lucky, in Stanton’s own slightly querulous but soulful singing voice, croons “Volver, Volver.” It’s a great moment — but we’re aware of it as a great moment, engineered as a great moment for the star.
I don’t begrudge Stanton the apotheosis he receives here. Few artists get swan songs this apropos, this on-the-money. (Who doesn’t despair when reminded that the accidental swan song of Gene Hackman, who has retired from acting, will be Welcome to Mooseport?) Stanton at least goes out with the same level of integrity he’d always had. Even when he showed up fleetingly in a trick of slick whoring like The Avengers, we were absurdly happy to see him, an oasis of rumpled humanity in a desert of plastic. (It spoke well of the director, Joss Whedon, that he apparently bent over backwards to find some way to get Harry Dean Stanton in there.) He elevated any and all material; Repo Man is inconceivable without him. Lucky doesn’t exist without him. Stanton leaves the sort of void that so troubles Lucky. There will not be more of him.The movie itself is aptly named — it’s lucky to have Stanton. He does more for "Lucky" than it does for him.
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