Also with: Michael Hyland, Robert Breuler, Mary Forcade, Benjamin Salisbury, William Francis McGuire.
Stage writer-actor John O’Keefe’s acclaimed monologue “Shimmer” inevitably loses magic in translation to conventionally dramatized screen form. But this American Playhouse production translates the source’s verbal lyricism well enough to court arthouse attention, despite familiarity of theme. Cable and vid sales will likely prove a better long-term bet.
Autobiographical narrative is set in 1956. Hero Spacy Callahan (Marcus Klemp) has been stuck for years at an Iowa juvenile home whose bucolic setting masks harsh treatment from employees and an even more brutal hierarchy among “inmates.” Transgressions might mean an isolated stretch in “lockup” under Bible-reciting molester Mr. Kibby.
Spacy befriends a new arrival, the equally plucky and imaginative Gary (Elijah Shepard). When the lockup release of a dim-bulb imperils their health, the two boys plot and execute an escape.
B&W memories define Spacy’s troubled childhood as sole offspring of a low-income couple; one harrowing flashback shows his drunken, violent father in action. But Spacy yearns to rejoin his embattled, now single mom (Mary Beth Hurt).
Centerpiece is the boys’ flight to Hurt’s abode. Director John Hanson realizes this journey by means that are familiar yet capture scenarist O’Keefe’s lilt — via time-lapse skyscapes and handsome nighttime vistas, one gets an adolescent sense of the world as mysterious yet magical.
Juve performances are a bit awkward at the outset, but gain assurance as pic progresses. The briefly utilized Hurt and others do well as adult archetypes. While basic coming-of-age theme provokes deja vu, the uniquely bleak period setting works nicely, and the writer’s poetical leanings are adequately realized.
One might imagine a more deeply poetical/surreal “Shimmer” in the hands of Gus Van Sant, whose sympathy to misunderstood-baby-boy melodrama routinely assumes the spectral dimension required here. Yet Hanson manages poignancy well enough to draw a tear of empathy at O’Keefe’s transcendent, ambiguous conclusion.