Walk out at the fade to white, to savor the powerful minimalist ending. Then watch this film again through to its "second" ending, to experience the happily-ever-after, sugar-coated.

Having written some poems and stories, experienced some small success, and viewed the world through the eyes of an author, it is clear that Harold Crick must die! It's that simple.

The power of this movie is that it brings to consciousness the facts of our very lives. It is a minimalist story, a la Ernest Hemingway and Raymond Carver, a story where what's left out is as important or more important than what is left in, a story set in the modern world with modern trappings, a story which serves as a mirror for the audience, a story with a modern lesson to be learned.

The story is a simple but powerful interwoven tapestry of a small handful of lives, including Harold Crick, a senior IRS agent; Karen Eiffel, a novelist whose new book is not yet finished but with the publisher's deadline looming; Ana Pascal, anarchist and owner of a small bakery who knowingly shortchanged the IRS 22% from her last income tax; Professor Jules Hilbert, a professor of literature; a bus driver; a reckless young boy on a bicycle. And an apple.

But in this tapestry is a magical event: Karen narrates Harold's life for a few weeks, and Harold hears her narrative voice (of course, no one else can hear her voice as she narrates about Harold). Shortly, Harold's very modern wristwatch plays a significant part in his very certain imminent death (according Karen-as-narrator). Naturally, this leads Harold to try to find an answer and solution to his predicaments: some unknown voice is narrating his life in his head and has revealed that "unknown to him" he will soon die. So the plot begins.

In the end, Harold seeks out Karen Eiffel and meets the woman who is about to kill him in her book about his life. She has written several novels before Harold's, and each time has killed her hero. Professor Hilbert defines her as a tragidist. Both Professor Hilbert and Harold read her completed manuscript, but its last few pages, Harold's death, are not yet committed to typewritten copy. Prof. Hilbert tells Harold that he must die; the novel is Karen's masterpiece. Harold, after reading the manuscript, agrees, and calmly accepts his fate, telling Karen that he loves the book and that she must finish it. This perfect, masterful ending she has written in her own hand on a yellow legal pad unfolds in the next scene. And the movie fades to white.

Walk out at the fade to white in this film. Leave the theater. The ending you'll savor will be so much more painful. Meaningful. And sweet.

This "original" ending is powerful and poignant. The artist's commitment to his/her work and its truth is the most important thing. More important than any man's life. Even Harold's. Ernest Hemingway and Raymond Carver would unanimously agree. Kill Harold. Be true to the novel.

What is this truth? Harold is like so many of us. Blindly consumed by meaningless careers filled with numbers, diagrams, files, forms, money. Not people. Our days are defined by our mindless daily routines: waking at 6:30 AM, brushing our teeth, going to work on schedule, taking our lunches and breaks at the scheduled times, going home, eating dinner, going to bed at the appointed hour, doing it all over again the next day. Until we die. Ironically enough, our deaths are unscheduled! The majority of the audience, particularly those 20-somethings and older, will identify with Harold.

The unbearable beauty of this film rests in Harold's awakening and increasing awareness of his meaningless career and mindless daily routines. Karen's narrative is an intrusion upon Harold's routines, and is the catalyst for his awakening. Prof. Hilbert, in trying to analyze and define Harold's "narrative," coaxes Harold to step outside his routines, outside his schedules, do something he has always wanted to do, to save his life. As Harold follows Prof. Hilbert's advice, Harold begins to truly live.

Harold's life takes on a whole new shape (literally and figuratively) as the film progresses. He develops a romantic interest with Ana (the baker), against department policy. He moves in with his only friend, and he no longer eats alone. He learns to play a well-used Fender guitar like he has always wanted (one song, but enough to spark Ana's passion). It is toward the end of the film, when he learns that he must die in order for Karen to finish her masterpiece, that Harold has truly begun to live. He now has everything to live before: a beautiful lover, a friend with whom he shares his evening meals, a dream he is fulfilling, a world he has begun to experience much more completely. So his death, Karen's original ending, is a powerful reflection on the modern human condition. Only Harold's death, at this appointed hour, underscores this truth. Carpe diem. Before it's too late.

How do the bus driver, reckless boy, and an apple figure into the story? The bus driver and reckless boy are introduced early in the film and seen several times as Harold's "story" unfolds. The unscheduled mixture of events -- Harold running 3 minutes early due to resetting his watch, the reckless boy on a bicycle, and an MTA bus -- intersect to cause Harold's death. The apple? Shown earlier in the film, too, inspiring Karen to outline a simple but perfect ending for her novel. Harold is eating it at the moment of his death in her perfect ending. Hemingway would be proud!

There is much more to be made of this film that this space allows. One might compare more fully this story to those of Ernest Hemingway, Raymond Carver, or a host of other, younger minimalist authors. One might justify the "second" ending (as I've justified Karen's original ending). One might explore the symbolism -- intentional or unintentional -- of the objects that appear in this modern minimalist feature. One might deliberate further on the other minimalist traits of this film. One might categorize and define this movie completely differently.

But I think there is one point upon which most of us will agree: Will Ferrell, Emma Thompson, Maggie Gyllenhaal, and Dustin Hoffman all give adequate performances. In the case of Will Ferrell and Emma Thompson, I think we'd all agree that their performances are nothing short of stunning. This is the first film which includes Will Ferrell that I actually enjoy. If you're not a big fan of Will Ferrell, do yourself a favor and see this film. You may agree with me that perhaps Mr. Ferrell makes a better dramatic actor than a comedian.

But don't forget to walk out when the movie fades to white!

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good Date Movie
Suitability For Children: Suitable for Children Age 9 - 12