Get Low (Movie Review)

Sometimes quirky works. Aaron Schneider proves this in his feature film directorial debut, Get Low. While the film faced a scattered release schedule, this Southern fable offers a texture that many modern productions lack. It serves as a showcase for a veteran cast working at the top of their game.

The film distinguishes itself through economical editing and a script that respects its actors. Schneider manages the pacing with a firm hand. The only minor distraction is perhaps an over-reliance on perfectly restored vintage automobiles.

A Hermit With a Heavy Conscience

Set around 1930, the story follows Robert Duvall as Felix Bush. He is a noted Tennessee hermit largely hated by the local residents. Bush hides a guilty secret that drives the narrative tension.

Writers Chris Provenzano, C. Gaby Mitchell, and Scott Seeke stretch this mystery over 100 minutes without losing suspense. They tease the audience with shreds of revelation. Exposition is woven seamlessly into the plot rather than dumped in clumsy dialogue.

The Business of Death and Humor

The opening sequence stumbles slightly with a slow burn involving a fire and a shotgun. However, the film gains momentum quickly. The casting of Bill Murray as Frank Quinn signals that this is more than a somber drama review.

Murray plays the P.T. Barnum of undertakers with a mix of cynicism and empathy. He delivers the sharpest punchlines. His character adds necessary levity to the proceedings, even if his claim that “nobody steals hearses” is historically inaccurate.

Bush decides to “get low” by organizing his own funeral while he is still alive. The local preacher refuses to help. This brings him to Quinn’s struggling funeral home and his assistant Buddy, played by Lucas Black.

Quinn sees Bush as a financial savior for his business. The hermit demands a “funeral party” where anyone can speak their mind. They generate publicity through radio spots and a raffle for Bush’s timber land.

A Past That Refuses to Stay Buried

Sissy Spacek enters as Mattie Darrow. She is a charming widow returning to town after her husband’s death. Her performance is convincing and brings a necessary warmth to the screen.

The nature of her relationship with Bush provides the most complex emotional twist. She realizes Bush’s secret connects to her own family history. It is a revelation that nearly leads to physical conflict.

The narrative hangs on whether Rev. Charlie Jackson will speak at the event. Duvall portrays Bush as a carpenter whose work is elegant in its simplicity. The emotional payoff satisfies because Duvall earns the audience’s sympathy.

Redemption in the Deep South

Bush reveals himself to be gentler than his reputation suggests. The final exposure of his secret feels grounded in human error rather than malice. His forty years of isolation seem like a heavy penance for the crime.

Duvall, Spacek, and Bill Cobbs are so compelling that the simplicity of the conclusion does not matter. The performances elevate the material. Duvall even shares scenes with a mule that manages not to steal the show.

Get Low carries a PG-13 rating mostly for language. It tells its story with respect and dignity suitable for older children. For fans of character-driven movies, this is a distinct pleasure.