MAIN STREET

US, 2010, 92 minutes. Colour.
Colin Firth, Ellen Burstyn, Patricia Clarkson, Orlando Bloom, Amber Tamblyn, Margo Martindale.
Directed by John Doyle.

Sinclair Lewis once wrote an important American novel about an ordinary American town – what better than to call it Main Street? This is not a version of Lewis’ novel, but it is in his spirit.

For 2011, this seems an extraordinarily ‘old-fashioned film’, ‘classical film story-telling’ if one prefers (with not a swear word or sex scene to be seen or heard). Yet, it is an interesting film all the way through. It has old issues and contemporary issues to explore. It has fine performances which hold the attention. It is well written and worth listening to. The writer is playwright, Horton Foote, to whom the film is dedicated. For fifty years and more, he has written fine films about the American south, adapting Harper Lee’s To Kill a Mockingbird, writing 1918, On Valentine’s Day and Tender Mercies amongst many others.

Perhaps younger audiences and those who prefer life and movies at a faster pace may not be caught up by Main Street but an appreciative audience which values the American movie tradition with find it a worthy successor.

Behind the opening credits is news footage of earlier decades and prosperity in Durham, North Carolina. Much of it came from tobacco growing. Then we see the present. While there are tall buildings and offices, the centre of Durham is becoming run down. Young people want to move on. The town council laments that few people turn up for parades. The spirit of the American town is seen to be dying – or on the move away.

Then we enter into the lives of some of the townspeople. Orlando Bloom plays Harris, a young policeman who is studying law at night, in love with school sweetheart, Mary (Amber Tamblyn), staying at home for his mother (Margo Martindale). Meanwhile, Mary has a job in a law firm in Raleigh and goes out on a date with her boss (Andrew McCarthy) but when she is warned that he is married with children, she is upset and is fired, determined to leave for Atlanta at once.

In an old 1920s mansion, Georgiana Carr (a wonderful performance from a near 80, Ellen Burstyn), daughter of a wealthy planter, is thinking of selling her house. She relies on the help of her niece, Willa (yet another understated performance from Patricia Clarkson). But, she has leased one of her warehouses, to an engagingly upbeat businessman (the business is disposal of hazardous waste), Texan Gus (Colin Firth, Texan accent and all).

Action takes place over two days or so.

The issues are those of the past. Miss Carr lives in the past (even her vocabulary and style of speaking and manners) and has to let go. The issues are also those of the present. Gus lives in the present and future and sees great prosperity for the town in undertaking delivery and processing of the waste. He is clearly attracted to Willa who has already recognised that he is just like her former husband, expecting anything he puts forward to be as enthusiastically taken up by others as he feels. What are her feelings towards him and helping her aunt with the dilemma about the warehouse and her selling the house? The issues are also the perennial ones of young love and prospects of jobs, improvement and marriage.

The screenplay brings these stories together and builds up to several climaxes. With the hazardous waste question, we hear strong arguments for the industry developments and what improvements it can bring to a town. We hear the caution about the waste and about safety. Neither side can claim the moral highground.

As with Robert Duvall in Get Low, Main Street is a film for experienced viewers who bring their own lives and questions to reflections on what the film offers.

1. The title, Americana? Main Street past and present? 20th century, 21st century? Change?

2. Durham, North Carolina, the credits sequences, the prosperity, the black and white footage, the Lucky Strike atmosphere of a tobacco growing town? Their history of tobacco growing? The contrast with the 21st century, the buildings, empty and decaying, the warehouses, the mansions, the ordinary homes? A picture of change in America?

3. The introduction to Harris and his mother, Mary and Howard, Mary’s family, Miss Carr and Willa, Gus and his assistants, the strands coming together?

4. The town council, the mayor, the panel, the meeting and discussion, the issue of the parades, nobody coming, even the children of the councillors? Putting off decisions? Gus and his interview with the mayor, the invitation, the explanation of success in Vernon, Texas? The meeting, his speaking, his enthusiasm, the support and the votes – and the accident happening?

5. Harris, young policeman, his law studies at night? His love for his mother, her tenacity, concern, protectiveness? His older brother wandering and not heard of? His study, going to bed, meals? At his desk, Miss Carr and her complaint, his going to the warehouse, with the Hispanic workers? His love for Mary, the phone calls and messages?

6. Mary, her age and experience, frustration, the attraction towards Howard, putting Harris off, going to dinner, the meal, the talk? At the office, the worker giving her a warning about Howard, her confronting him about his marriage and children, her being sacked? Going home, her mother and her concern, mother marrying at fifteen, no education? Frank as stepfather, his concern? Her decision to leave for Atlanta? The contacts? The family sad, having to let her go? The prospects of a job and a future?

7. Harris, his mother and her concern? Mary’s parents? The older generation in Durham and the changes in life? The next generation?

8. Miss Carr, the agent and the buying of the house, her talk about her family history, wealth, the Duke family and their success? The changes in tobacco growing and the smoking industry? The photos, the mementoes? Her home, unwilling to sell? Living alone, pottering around the house, all her possessions? The gracious life of the South? Watching the television, her anxiety in her eyes, phoning Willa? Discussions with Willa? The warehouse, not listening to Gus explaining what was there? Willa seeing the Hispanic workers? Her ringing Gus in the night? Their going to the police, to the warehouse, Gus and the truth, Gus pleasant, Willa wary of him? Similar to her ex-husband?

9. Gus, the canisters, the hazardous waste industry? Willa and her concern, her viewing the canisters? Gus reassuring them about the success in Vernon, Texas? The proposal for the future of Durham?

10. Miss Carr and her stance, her uncertainty, Willa supporting her? Talking with Gus, the proposal for an interim lease, offering Willa the job? The invitation to dinner, Miss Carr weeping, their discussions?

11. The town meeting, the mayor and his support, Gus and his speech?

12. The plan, transporting the canisters, processing the waste? The rain and the various reactions around the city? Harris taking Mary to the airport? News of the accident?

13. The effect of the accident, Mary and Harris going to the site, talking, their love for each other, Mary staying? Miss Carr and the buyer not being able to come because of the rain? Her coming the next day, the sale, Miss Carr being allowed to stay, her happiness?

14. Gus, the issue of being fired, the realisation of the work that he was doing? With Willa?

15. The issue of hazardous waste, transport and storage, the realities of the accident and the possibility for destruction?

16. Gus and his speech about the future, Miss Carr and her looking at the photos of the past? People having to let go? Face challenges and a new world?