SVS: “The Station Agent”

“It’s funny how people see me and treat me, since I’m really just a simple, boring person.”

If Tom McCarthy were to make nothing but Bay-y, FX-laden action thrillers from now ’til the end of his career, his debut film would still provide me with enough evidence to forever defend him as an “Actors’ Director.”

I speak, of course, of The Station Agent, currently streaming on NETFLIX and AMAZON PRIME, and available for rent from AMAZON INSTANT($) and YOUTUBE($).

When his only friend dies, Finbar McBride (a man born with dwarfism) moves to rural New Jersey to live a life of solitude, only to meet a chatty hot dog vendor and a woman dealing with her own personal loss.

The acting is just spectacular. Truly beautiful to behold. Especially Cannavalle, who brings just enough oblivious humor and goodness to the proceedings to keep everything gliding smoothly along the rails. And Patricia Clarkson, who is fragile and sincere and almost impossibly luminous. And of course, Dinklage. whose eyes are so dead and defensive at the beginning of the film that it hurts to watch him. Almost as much as it hurts when he smiles (finally!), except that’s an entirely different painfulness. Those with smaller parts — Michelle Williams, John Slattery, Paul Benjamin — acquit themselves wonderfully, as well. Even… …OK, fine. Everyone’s great. Really great.

I blame McCarthy. And his writing. And his ability to recognize his actors’ skills and to stay out of their way.

But there’s more than just great acting on display here. There’s something quiet (yet powerful) being said about the way humans interact with one another, and the way those human interacts can influence us almost as much — nay, more — than more dramatic, cinematic plot points. In particular, I love the way is the story is driven forward by the force and and history shifting personalities of its subjects — driven forward by who they are rather than by what they do. Don’t worry; there are arcs aplenty. But they’re mostly triggered by the three leads rubbing up against one another and those around them rather than by some earth-shattering revelations or train-wrecks (with one notable exception). And there’s something incredibly real about that smallness.

It is competently (if a bit uninspiringly) shot and scored, but its technical aspects are quite sufficient to keep them out of the way of the film’s real excellence: its performances. This focus gives it a real warmth and humor it might otherwise lack, and renders it surprisingly re-watchable. In fact, as I was re-watching it myself this past week (in anticipation of this recommendation), I realized that it wasn’t making me laugh (much), but it was making me smile. A lot. At little things almost as much — or even more — than big ones. Little details, really. Little humannesses. Little simplicities that, despite what Finbar claims about himself, are anything but boring.

So it’s not a LOL-film, (much). But it’s definitely a heart-warming one.

Oh, and lest we forget, this was his first film. As I said before, it alone would be enough to mark him as an Actors’ Director for life. He has, however, followed it up with The Visitor and Win Win. Both wonderfully, wonderfully acted films. Which means we’re all just rolling around in Embarrassment of Riches territory here. It’s actually sort of absurd. (Speaking of absurd, I’m even considering watching The Cobbler, because it’s from McCarthy. Wow.)

Fin: You said you weren’t going to talk to me if I sat here, Joe.

Joe: I haven’t said anything in like twenty minutes.

Fin: Nine.

Joe: You timed me?

Fin: Mm-hmm.

Joe: That’s cold, bro.

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