Harry Dean Stanton
“LUCKY” My rating: B+
88 minutes | No MPAA rating
Late in the sublime “Lucky” our title character, an ancient desert-dwelling reprobate played by Harry Dean Stanton, informs the customers of his favorite watering hole that, in his opinion, all we have waiting for us is nothingness.
“What do we do with that piece of news?” someone asks.
Exactly. What do you do, how do you live your life, knowing your time on Earth is limited and that there are no guarantees of a hereafter?
If that sounds heavy…well, it is and it isn’t.
“Lucky” is a deadpan comedy about small town eccentricity that morphs into a meditation on mortality. It’s a classic case of laugh-sob-laugh storytelling.
The screenplay by Logan Sparks and Drago Sumonja is so solid that it would be a terrific vehicle for any mature actor. That the role of Lucky went to Harry Dean Stanton, who died in September at the age of 91, is one of those made-in-heaven movie miracles.
The script plays perfectly to Stanton’s physicality (sunken eyes, hopeless hair, wraith-like figure) and his tough-crusty demeanor. How lovely… in an acting career that goes back a half century with films like “Alien,” “Repo Man” and “Paris, Texas,” Stanton’s last big role features what may be his greatest performance.
Add to this the wondrous directing debut of John Carroll Lynch, a much-in-demand character actor (he played Frances McDormand’s stamp-designing husband in “Fargo”), and you have a low-keyed, rib-tickling, heart-tugging wonder.
Lucky — who never married — lives alone on the outskirts of a small town (the setting looks like New Mexico or Arizona). He is a creature of habit.
That means getting up and doing yoga exercises in his underwear, pausing to take a few long drag on a cigarette. Lucky’s closet contains blue jeans and identical well-worn red plaid shirts. His diet appears limited to milk, caffeine and Bloody Marys (though he never eats the celery).
He’s got no car, so he walks into town, making the rounds of the diner, Post Office and shops before settling onto his stool at a bar where everybody knows everybody else’s name. He makes a point of baiting the chatty owner (the great Beth Grant), her pretty-boy squeeze (James Darren) and the philosophical bartender (Hugo Armstrong).
Butler's Cinema Scene 