The Yellow Handkerchief Film Critque

Film Critique/Analysis #2

Michael Atkinson 

Cinema 28

A "Just There" Film

In an interesting tale of isolation and love, The Yellow Handkerchief (2010), brings three entirely different people together through their loneliness and need for comfort. Brett, Martine and Gordy find themselves drifting along on a trip to New Orleans shortly after the events of Hurricane Katrina. There is no particular reason as to why as the characters chose to go to New Orleans, or what makes them all chose to go together, the the formula for this story is simple: three strangers in a car who learn about each other through their journey. 

The film begins very quietly, and in fact, stays that way for much of it to come. The tone of the movie is overall melodramatic and soft. Dialogue is shown more through the character’s facial expressions rather than speech itself; and this proves to be a mastered art for the actors. Udayan Prasad - the film’s director - did an excellent job casting these actors. Eddie Redmayne, especially, a born and raised British actor, was able to capture the personality of an insecure and frightfully “not-all-there” Southern teen. Not once did his British accent slip in, nor did he fall out of his Southern accent. But he was able to capture the true essence of his character through his body language and honesty - fidgeting with his hands nervously, no eye contact, stuttering when on the verge of emotion, and painful awkwardness. Even the two other main actors were able to capture the realistic nature of their characters, enhancing the reality of the situation and bringing to life both of their internal struggles. The casting choice is truly what made this film a delight to watch. It was like watching an actual scene from life take place right before your eyes - no exaggeration, no perfection, just honest reality. 

Stylistically, the film felt like being on a boat, watching the same water around you for a while and just rocking and floating along until you reach your destination. It took a while for the film to get going, and one can argue that the “ball” never officially started rolling. The film was just “there” - for lack of a better word. There was no spontaneous action, no driving points of interest, and nothing really happening. Martine and Gordy - the young teens - learn about Brett’s past as he tells the story of his love found and lost through flashbacks. It is not until about two-thirds of the way into the film that they decide to take action and finally drive “somewhere” of actual significance; deciding to reunite Brett with his love - May. It is there the audience learns that May told him before he left that she would hang the yellow sail on her boat for him, should he ever return, then he would know if she still loved him. Come the happy romantic ending, one cannot help but wonder if this whole film was actually a big psychological metaphor that held greater symbolic significance under the surface. But if there was, perhaps Prasad should have made it more clear. 

Overall, The Yellow Handkerchief brings to light some heavier issues of loneliness, redemption, and love all rolled into one. This happens to be one of those rare films where a story is told with all its hurdles and issues and yet the characters are still the same as when they started. The only difference being that they have found solace in each other, rather than in themselves, as any good character arc normally has. But this is a film that leaves you with a sigh - perhaps a sigh of frustration, perhaps a sigh of relief, or even perhaps a sigh of contentment.