REVIEW: The Yellow Handkerchief

The Yellow Handkerchief follows three displaced strangers on a roadtrip through the rural highways of Louisiana, each of them on their own private journey of self-discovery, but united in their search for some kind of connection.

The story begins with Brett, deftly played by William Hurt, who has just been released from a six-year stint in prison for manslaughter. Adrift in an now-unfamiliar world, he begins to make his way vaguely south, and along the way meets angsty (is there any other kind?) teenager Martine, played by Kristen Stewart, and her new "ride" Gordy, played by Eddie Redmayne. The trio end up riding together as Martine seeks to leave behind a family that doesn't really care about her, Gordy to be closer to Martine, and Brett to reconcile his past - and a wife named May, played by Maria Bello - with the harsh realities of his present.



Story-wise, we're in familiar territory here. There is nothing ground-breaking in the presentation of Yellow Handkerchief, as we have seen this particular conceit before. The one thing that separates Yellow Handkerchief is the strength of its actors. William Hurt is perfect as ex-convict Brett Hanson. There is a line that Brett says to May, that he can see her life in that face, and such is true in Hurt's performance. Every tragedy and disappointment that Brett has suffered in his tumultuous life is etched in the lines on Hurt's face and reflected in the glistening pools of his eyes. The movie is largely redeemed because we feel for and believe in Brett, and want him to find the measure of peace that he is so desperately looking for.

Maria Bello brings strength and grace to her portrayal of May. She is both fiercely independent and frighteningly vulnerable, and makes it so easy to believe why it is at once unbearable for Brett to be away from her but too painful for him to return either. Kristen Stewart is lovely as the brave but lonely Martine, headstrong enough to make it on her own but too delicate to suffer being alone. And although it's unusual to see him outside of a period piece, Eddie Redmayne is winning and effortlessly charming as the outcast Gordy, never really loved by anyone but so ready to give love all the same.



Where Yellow Handkerchief hits some speedbumps (and maybe what derails it entirely) is the actual development of the characters and their relationships. The set up, for the most part, works for each of the four players. However, the progression of their mutual and their individual arcs (save perhaps Brett's) takes massive and unearned leaps throughout the movie. Bello, especially, is required to hit a few emotional notes in her relationship with Brett that are just too sudden to be truly believable. At one point, it feels like May and Brett jump from casual acquaintances to lovers to man & wife within the span of a few days. She does the best she can, but the writing simply isn't strong enough to carry us from one beat to the other. Similarly, the change in the dynamic between Martine and Gordy is almost lazily played out, as if the tension between them is supposed to magically evolve to love at the 75-minute mark. We're also never completely sure why Martine so implicitly trusts Brett, even as strangers. Although we're given hints, one can't help but feel as if there needs to be more meaningful interaction between the two for us to buy the growth of their relationship. In fact, I am reminded of earlier this year's The Lucky Ones, Neil Burger's dramedy about three Iraq war veterans on a cross-country roadtrip. As much as we like the characters involved and desperately want to like their story, their relationships unfold too awkwardly and tritely for us to ever fully be with them.

Ultimately, The Yellow Handkerchief is a character piece that never quite lets us connect with the characters. While the performances are sublime, the writing just can't quite flesh out the relationships enough for the audience to buy them. The story goes through all the motions, complete with even a (spoiler alert!) rather well executed reunion at its end, but one still can't help but feel unsatisfied after leaving the theater. A special note should be made about Chris Menge's excellent cinematography, though. Menge lushly captures the glowing hues of Louisiana, making liberal use of huge soft sources and lens flares to portray the atmosphere and romance of the south. Otherwise, Yellow Handkerchief, which premiered at the 2008 Sundance Film Festival and may find its way to theaters, won't bring anything memorable to the table.