Once is the type of film that comes along on such rare occasions each generation. As a film critic, it is one of those situations where I want to plead with moviegoers to give it a chance, and spread the word in hopes that more fall under its spell as ecstatically as I did. What I witnessed was something very special happening on screen. This is a modern musical masterpiece that does not just tug at ones heartstrings, but reaches down and touches the soul in ways seldom felt.
He (Glen Hansard) is a struggling musician that enjoys strumming his guitar on the sidewalks. He plays songs that people like in the daytime, but come nightfall, he belts his own material. One day, a young woman (Marketa Irglova) stops by and claps after he is finished. They engage in casual conversation, and the singer divulges that he has just broken up with his girlfriend when questioned on the lyrics. As a job, he fixes vacuum cleaners with his father. Coincidentally, the girl has a vacuum cleaner that could use fixing.
While riding the bus to the repair shop, he further discusses his life, but he communicates through his guitar. It turns out that she practices piano, and one day the two enter a music store and proceed to collaborate on "Falling Slowly" together. Their love for music enables them to start a relationship. Throughout the next week, they meet frequently and get to know each other better. When they aren't conversing about their shaky love lives, they compose, rehearse, and perform various songs as a unique connection continues to develop.
To be true, this is extremely short at approximately 85 minutes, and it is also as simple a tale as cinematically possible. However, I am reminded of an old saying that great things come in small packages. This is a realistic musical, yet I'm not sure if I should label it as only a musical because the raw emotion in the songs, combined with the undeniable chemistry between the actors seems so pure and organic that categorizing as such is almost a disservice. Forget hyped releases like Dreamgirls, and forget big budget numbers like Chicago. Once has more memorable passion in the first five minutes than any Hollywood blockbuster had in the last few decades.
The characters are listed in the credits as guy and girl. Names are never given. Is that a problem? Would names make a difference on whether or not one likes or dislikes this film? Personally, it never occurred to me until the final credits began rolling. Analysis of the performances is not required, as is usually the case. These aspiring musicians go above and beyond the standard duties. Watching Glen Hansard and Marketa Irglova form a bond, unfolded so naturally that I believed it was actually taking place, and I was a fortunate observer, rather than a mere audience member. They are both simply wonderful.
Glen Hansard is the lead singer of the Irish group, The Frames, and Marketa Irglova is a Czech musician he has associated with. Writer and director John Carney was a former member of The Frames himself. Together this threesome created a gleaming jewel. Once is executed by Carney in the most genuine and unpretentious manner achievable. The music, almost entirely written by Glen Hansard is fabulous and spine tingling. The tunes evoke the core of this individual with indisputable intimacy and confidence. One of the first songs, "Say it To Me" is just brilliant and bold as he shouts to the sky.
One of my favorite scenes in Once has the girl trying to listen to one of the guy's CD's. She has run out of batteries, and while walking back home from the store, she works out some of her own lyrics to a melody he has not completed. It is called "If You Want Me." Glen's music is heartrendingly beautiful, and John Carney's film is profoundly personal. Each piece is impeccably coalesced into the picture with ideal locations, sometimes spontaneous, sometimes probable, but always magnificent. We become immersed in their lives, and our link with the characters is as strong as the relationship the guy and girl share.
Once is somewhat autobiographical of John Carney. He has set this Sundance hit in Dublin, Ireland, and he not only reveals this love story expertly, but the cinematography from Tim Fleming offers such gorgeous glimpses at Ireland. One moment in particular is staggering when a motorcycle outing takes them to a breathtaking vista. Carney has crafted an austere and basic screenplay, which might not seem impressive on paper, but as his ambitious vision is then carried out in front of cameras, it will knock you right off your feet.
I would feel horrible if I spoiled too much of this movie, but at the same time; I have the overwhelming urge to write pages on its greatness. What worried me most was how John Carney would conclude Once. The choice he made not only made sense, but was so gentle, unfeigned, and exquisite that a different ending would have been foolish. This is a superlatively harmonized, overpoweringly moving, and unparalleled experience that will place you on an elevated wavelength.
The 411: You owe it to yourself to see this movie. It could very well be one of the best films in the last decade. Sentences like that are thrown around from time to time, but in this instance, it could be true. If you criticize this film too harshly, then there is something wrong with you. It is just magical. I was stunned to my seat even as the final credits were going. I had to stay until there was no more to see.
