Laura Clifford Robin CliffordPaul (Live Schreiber) is a young ex-con making a fresh start with the Parks
and Recreation department in a small New England town. He is teamed with
Murphy (Ned Beatty), an old hand at the job and approaching retirement. The
duo gets to know each other and become close friend over a year's time in
writer/director Tom Gilroy's feature film debut, "Spring Forward."
Newcomer Gilroy shows his stage-bound roots in his first attempt at making
a movie. The stagy nature of the film's structure - seven episodes,
chronologically over the course of a year, bridged by idyllic sequence of
small town life in the Northeast - could have been painful to watch in the
small budget film. Except for a pair of big-budget performances by Beatty
The trite little story of the once fallen and now found Paul, whose
criminal past stemmed from financial desperation and not a mean streak,
coming into the life of the near-retirement Murphy. As each talky episode
unfolds, we learn more and more about the two, who they are, what their
desires and needs are (Paul, early on, declares his "need" to get laid),
and just what makes 'em tick. There's talk about being a better person as
Paul floats his newly learned ideas of karma and religion before Murphy.
Murph tells his young colleague about his gay son, Bobby, who, off camera,
is dying of an undisclosed disease. (You figure it out.) They even smoke a
joint together in a cross-generational bonding ceremony. There is
philosophy enough for three plays here.
You can overlook the amateur filmmaking of "Spring Forward" as you watch
the two fine performances by the leads. Ned Beatty has had a long career
portraying a variety of characters from his "squeal like a pig" victim in
"Deliverance" to Otis, the sidekick of Lex Luthor (Gene Hackman) in
"Superman," and Sheriff Lester Banks in "Cookie's Fortune." He gives Murphy
the depth you expect from the actor and portrays the man as truly good and
kind in a small-town way. Live Schreiber is also proving himself to be able
to play a variety of types and he makes Paul a real person. He has a past,
but it does not dictate how he will be in the future. His deference to and
respect for Murphy are genuine as the older man's kindness helps to temper
Paul's youthful exuberance and sometimes-foul mouth.
Gilroy brings other characters into the mix, but they seem superfluous in
what is mainly a two-person play, a la "My Dinner With Andre." Campbell
Scott, Ian Hart, Peri Gilpin and others are each brought, briefly, into
some of the episodes to flesh out the background. Their appearances,
mostly, take the attention away from the leads without moving the story
much ahead. Each appearance is so brief that none of the actors are given a
chance to put substance into their stick figure roles.
Techs are all right, especially the soft, nicely lighted lensing by Terry
Stacey which captures the look and feel of small town USA. Although the
bucolic bridging sequences of folks mowing lawns, stringing Christmas
lights and burning leaves kept bringing to mind the TV spots for
"Spring Forward" won't be high on any best lists come year's end, but the
two performances by Beatty and Schreiber make this worthwhile fare - at
least on the small screen. Because of the acting, I give it a C+.
When ex-con Paul (Liev Schrieber, "A Walk on the Moon") begins work as a
municipal parks worker, he's full of self doubt. He's partnered with the
much older Murphy (Ned Beatty, "Cookie's Fortune"), a most unconventional
blue collar worker. Over the course of a year and the change of the
seasons, a deep and moving friendship will form between the two men in
writer/director Tom Gilroy's feature film debut "Spring Forward."
Paul and Murphy begin to bond when the uppity son of a gardening supply
store (Campbell Scott, "Big Night," perfectly capturing the unctuous manner
of a man born to wealth unused to being challenged) tries to manipulate them
into shovelling the manure his father's donated to the city. Paul, emboldened
by Murph's refusal to back down to Frederickson, calls Frederickson a vicious
name and is rebuked by Murph for his language. Frederickson claims Murphy's
reaction is because the term could be applied to Murphy's son, a gay man.
Paul is devastated that he's caused Murphy hurt.
"Spring Forward" progresses through six additional, real time scenes each
punctuated by a seasonal interlude in the author's home town of Ridgefield,
Connecticutt. Paul and Murph discuss religion and get high. Murph
takes Paul to a house where there are puppies for sale by a woman who
might need companionship as much as Paul does ('Frasier's' Peri Gilpin).
Murph tells Paul about the hurt caused by a lifelong neighbor who refused
to stand up for his son, then the two meet that same neighbor (Bill Raymond)
at Murph's son's wake. The two find a hysterical woman and her terrified
daughter by the side of the road.
"Spring Forward" is above all an actors' showcase, particularly for Beatty
and Schreiber who are simply sublime together. Beatty's Murph looks like a
blue collar everyman on the verge of retirement, but has an unexpectedly
sensitive soul and Beatty never once makes us doubt this unconventional
package. Schreiber's Paul has more beneath the surface than one would
expect, having substituted voracious reading for institutional education.
He too, seems like a potential redneck who's instead opened his mind
beyond where his background should have led him. Their verbal sparring and
generational gap give the film a gentle humor.
Gilroy has provided these character riffs in his writing. Murph has a
habit of making bakery allegories rather than use foul language ('I'd have
been frosted too,' 'He's got a cupcake mentality'). Paul expounds on
Asian spiritual concepts, and, just when he thinks he's flown over Murph's
head, Murph sums up his ideas with a simple cliche - the concept of karma
is translated into 'What goes around, comes around.'
Gilroy's playwright background is stamped all over his film debut to its
detriment, however. Gilroy's decision to film over the course of a year
was a plus for the actors, allowing them to form their bond gradually.
Yet, every moment is jam packed with a philosophical or heavy moment, never
giving his characters a chance to breath or his film to form more naturally.
Director of photography Terry Stacey captures the beauty of his locations,
a rural New England utopia. Composer Hahn Rowe's score features a folky,
yet plaintive fiddle, accentuating the film's bittersweetness.
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