Robert Duvall as a crotchety backwoods hermit and Bill Murray as a sly undertaker — already the attractions of “Get Low” come into view. This odd little indie picture is chiefly an excuse to savor the talents of a nice group of actors.
The plot, evidently inspired by a true story (but sounding very much like a tall tale from the old, weird America), takes place in the 1930s. Duvall plays a reclusive old coot named Felix Bush, tucked away in his cabin back in the Tennessee woods and not much seen by his neighbors.
So it comes as a surprise when he arrives in town one day announcing his desire to hold a funeral — his own. Frank (Bill Murray) is the town’s funeral director, a man of fancy threads and Chicago breeding, who’s even more out of place than Duvall’s character.
Felix’s request is absurd; he wants to attend his funeral to see what others will say about him. But Frank senses a windfall — “hermit money!” as he hilariously puts it — so he and his earnest assistant (Lucas Black) go about fulfilling the old-timer’s wishes.
Added to the mix is Felix’s old friend (Sissy Spacek), who bears some connection to a long-lost love of his. All threads will eventually tie together at the funeral, we can safely assume.
And indeed everything works out safely in the film, a feature directing debut by Aaron Schneider. The questions in the story are cleared up and the humor and drama doled out in neat amounts.
It’s a little too neat for me, as though aimed at a particular taste of film-festival audiences (and in fact it was warmly received at the Seattle International Film Festival earlier this year). When compared to the real sense of danger and mystery exposed in another backwoods movie, “Winter’s Bone,” “Get Low” is tame.
Nevertheless, I’ll admit it’s easy to enjoy this one. Murray is in his droll, is-he-kidding-or-isn’t-he mode, and he looks great: prim little mustache, fur lining on his fancy coats, bottle of ‘shine hidden in the desk.
Of course Duvall is the only casting choice for Felix. And although he has played roles like this before (and the part pales in comparison to Duvall’s turns in “Tender Mercies” and “The Apostle”), it’s still pleasurable to watch this meticulous actor fill in the pauses and the gestures of his cranky, crinkly character.
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