Once: Review

The musical has begun to make somewhat of a comeback recently, with big buzz films like Moulin Rouge, Chicago and Dreamgirls lighting up the screens and critics' columns. However, since the start of the new millennium, there have been a rash of smaller budget, more modestly scaled pictures as well. The second category is where Once would fall, in all its quiet Irish glory. Rather than imbuing his story with massive, outrageous numbers, writer/director John Carney relies on the hushed beauty of the songs of Glen Hansard, lead singer of the Irish folk-rockers The Frames, and his romantic counterpart Marketa Irglova, neither of whose characters are named. Rather, they are both every (wo)men, two small time musicians who share a few short moments together over the course of a weekend.

Carney's modest approach works splendidly here as he allows the music of the film to shine through and for the most part, Hansard musical contributions are sublime examples of modern folk music. Most reminiscent of Damien Rice and his quiet/loud builds, Hansard's songs take on an organic, home grown feel to them, completely devoid of any reserve. He unabashedly wears his heart on his sleeve, leaving his songs emotionally naked and performed with heartfelt fervor, slowly building to a number of wonderful moments. Too often in modern day musicals do directors and writers focus too much on Bubsy Berkley-esque extravagant choreography and not on the songs. Ultimately, the greatest musicals, despite their urges to focus on the spectacle of it all, are ultimately grounded in memorable and classic songwriting. Take, for example, arguably the most well known and most praised musical sequence in history, Gene Kelly's classic title sequence from Singin' in the Rain. As mind-blowing as Kelly's dance is, the ultimate reason why that moment works so well is the classic song behind Kelly's movement. Without it, it is a man jumping in puddles. With it, its Hollywood lore. In that sense, Once easily falls into step with the classics of yesteryear with its emphasis on the songs, not on the performance.


That being said, the acting performances are top notch considering the two main actors lack of a solid background. While Hansard had a role in 1991's The Commitments, he has done nothing since, focusing on his music career instead. Likewise, this is Irglova's first film. Their relative inexperience lends the film an air of authenticity, the type that would impress even the most hardened Italian Neo-Realist. Much like Hansard songs, his performance is quiet yet affecting. Even though the film only glimpses into the lives of its leads, one can feel for Mr. Hansard's character as he copes with not only lost love but perhaps newly discovered. His chemistry with Ms. Irglova can be best described as effortless and lived in. They fit together like a over used puzzle, pieces gently clicking into place as if they were specifically designed for each other. The film's conclusion, as a result, is painfully bittersweet and will leave the audience feeling a combination of hopefulness and despair. Considering the short running time, a mere 85 minutes (credits included, so take off five or so to compensate), Once is remarkably effective in its ability to seep into your emotions. Never does it feel overbearing or forced, its narrative subtleties slowly revealing themselves, enveloping the viewer throughout the course of the story.

Ultimately, Once's greatest strength is also what will lead to its eventual descent into obscurity. The film is so small in scope that with a small passionate following, this will quietly leave the theatres just as silently as it entered Sundance. Its small scale is a refreshing take on the genre and its approach to its songs and their performances, naturally woven into the storyline as opposed to the nonsensical moments of breaking into song and dance that dominate Studio Era Hollywood's output, is equally so. However, by keeping everything so reigned in, most audiences will miss this film and it will be lost, which would be unfortunate for these types of small, independent works are what continue to breath life and creativity into the larger process of making movies. Once should be a film to be treasured, nothing entirely groundbreaking or life changing, but a wildly successful look at a life of a struggling musician that resonates with its (small) audiences like few other films have this year.


****