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Dr. Walter Vale’s (Richard Jenkins) not fervent in going to Unique York City to prove a paper at a conference to benefit a fellow colleague and co-author. His absorb life takes precedence. Unfortunately, his dean doesn’t perceive it that device.
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When he arrives in Original York, he discovers that someone’s bathing in his tub. That would be Zainab (Danai Jekesai Gurira), a young Senegalese woman who is as surprised to discover him as he is her. The person sleeping in one of his beds is Tarek (Haaz Sleiman), a young Syrian man who sublet Vale’s neglected apartment from a person that Vale doesn’t even know.
Vale cannot turn the pair out into the street, so he allows them to remain. As their acquaintance grows, Vale learns how to play the djembe from Tarek and also the jam of illegal aliens–particularly Muslim ones, post 9/11 after Tarek is erroneously arrested in the subway over jumping the turnstile.
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One of the most heartbreaking scenes in this movie is when Vale takes Zaineb and Tarek’s mother Moona (Hiam Abbass) to Staten Island. The women, who are both illegal, peruse the Statue of Liberty in all her glory. Zaineb relates how Tarek, who is now in detention, old-fashioned to toddle the ferry and jump up and down every time Lady Liberty came in eye pretending it was the first time to be in America.
Vale, who’d failed piano lessons four times, learns there’s music in everyone’s soul. If you can’t play the piano, travel on to another instrument until you score one whose music is in sync with your possess rhythm.
My husband and I left “The Visitor” wishing there was more, hoping that there was a kindly outcome for the characters. In the lobby, we met a man who’d attended the Sundance Film Festival where “The Visitor” screened for the first time. He told us this was the only film that year that got a standing ovation. I understand why.
Rebecca Kyle, May 2008
A genuinely unexpected gem. As he proved with his first film as a director and screenwriter, 2003′s The Status Agent, Thomas McCarthy knows how to bellow the graceful line between solitude and loneliness in his characters’ lives with an emotional preciseness that doesn’t call attention to itself. It’s not surprising that McCarthy is an actor because he’s able to assume the very subtle nuances in behavior in actors that produce his work feel like Edward Hopper paintings near to life. As a result, you pay attention to a simple gesture, a passing peruse, a resigned narrate. This time, his protagonist is Walter Vale, an enervated, middle-aged economics professor at a Connecticut college. Widowed and wholly lacking in professional motivation, he begrudgingly accepts an assignment to go to an academic conference at NYU and note a paper on globalization he really didn’t write.
Coming serve to a Greenwich Village flat he rarely uses, he is surprised to earn a couple living there. Not squatters but heart-broken victims of a rental scam, they turn out to be illegal aliens, a Syrian percussionist named Tarek and his girlfriend Zainab, a Senegalese who makes and sells handcrafted jewelry. As withdrawn from life as Walter is, he slowly finds himself bonding with the couple and lets them cease indefinitely. Zainab is uninteresting to trust Walter, but Tarek and Walter become conclude over a mutual admire of African drums. As his wife was a famed classical pianist, Walter had been futilely attempting to gain musical inspiration since her death. However, honest as this charming fable of world harmony plays out, it comes support to harsh reality when Tarek is arrested and taken to a detention center in Queens for deportation. What McCarthy does from this point forward is demonstrate how sadly restrictive the post-9/11 environment has made immigration laws and how there is no recourse to be found under the constant surveillance of a bureaucratic government protected by the latitude of the Patriot Act.
None of this is hit over our heads with a politically motivated sledgehammer. Far from such polemics, the epic singularly focuses on Walter’s emergence of purpose in helping Tarek. When Tarek’s mother Mouna arrives from Detroit, McCarthy adeptly shows how Walter’s closeness to Tarek translates without condition to her. It’s a animated transformation of a formerly lonely man finding intimacy in the most unlikely dwelling. In a once-in-a-lifetime role, character actor Richard Jenkins brings heart and soul to Walter in the most economical manner. Best known as the ghostly father in HBO’s Six Feet Under, he has worked steadily in films for three decades, his most memorable turn being the jubilant FBI agent high on heroin in David O. Russell’s Flirting With Worry. With his constant glance of resignation on the verge of revelation, Jenkins gives a wondrously poignant, often dryly silly performance that deepens as the tale evolves.
Haaz Sleiman and Danai Gurira are terrifically winning as Tarek and Zainab, and they obtain their bonding with Walter more than credible. As Mouna, Hiam Abbass is no stranger to persevering maternal roles as she brought her particular impress of strength to Hany-Abu Assad’s controversial Paradise Now and Eran Riklis’ family dramedy, The Syrian Bride. In response to Walter’s fumbling overtures, she affectingly conveys her character’s resolute stillness and slack blossoming. There are brief cameos by droll actor Richard Kind as Walter’s unctuous neighbor, Deborah Hurry as a wealthy and ignorant customer of Zainab’s, and Broadway epic Marian Seldes as Walter’s failed piano teacher. At first, I notion the film’s title was blandly generic in describing those who are here from other lands, but I realize now that the visitor is really Walter as he discovers his soul. The last shot is memorable and captures the fury of his passion with potent force. Strongly recommended.
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