Glen Hansard busks late in the evening on an empty Dublin sidewalk. As he pours his heart into a morose lament on lost love and the hope for reconciliation, accompanied by a battered acoustic guitar to compliment his ragged appearance, the handheld camera slowly moves closer. As the song reaches its conclusion, the camera retreats to reveal an audience of one. She is Marketa Irglova, seemingly materializing from the romantic void. She admires Hansard's passion and musical gifts, especially when informed he is the author of the song. And she will unexpectedly change his life.

Shot in one uninterrupted take, the sequence is a small marvel of storytelling efficiency, which is all the more surprising considering ONCE was shot for about a hundred grand with mostly handheld cameras by a first time filmmaker. With non actors. Who speak in thick accents. In one illuminating take the two principal characters meet, and the chemistry is instantaneous. Technically anonymous (In the credits they're referred to as "Boy" and "Girl," but the stars may as well be playing themselves), the banter that passes between Hansard and Irglova is irresistible and very funny, particularly the way Irglova pesters Hansard for the low down on who the song's inspiration is. The moment, like the film itself, is pure magic.

Written and directed by John Carney, ONCE is a miracle of a movie with charm to spare and more heart than any other film of the past year. An enchanting fusion of music and romance, ONCE defies expectation because underneath its simple, low budget exterior lies a pulsing and deeply moving Valentine to pure friendship and struggling artists everywhere. Moreover, ONCE is so overwhelmingly spirited it feels like a cinematic hug waiting to wrap viewers in its cheerful embrace. For a film apparently shot with spontaneous, guerrilla style flair and neatly condensed to preoccupy itself with two main characters, ONCE's appeal is nevertheless universal, with a message that gauges success not on whether one scores a record contract or gets the girl, but that hokey, noble philosophy of staying true to yourself.

Did I mention ONCE defies expectation? A large part of the film's success is owed to the refreshing, commonplace qualities of Hansard and Irglova. The former lives with his widower dad and helps out at the family "hoover" repair shop; the latter is a young, Czech immigrant who lives with her mum and daughter. Each is nursing a broken heart. And yet both are exquisitely personable with rich senses of vulgar laden humor (Perfectly illustrated in Hansard's gem of a ditty "Broken Hearted, Hoover Fixer, Sucker Guy"), and budding musicians to boot. It is this musical kinship that binds the two together, beautifully cemented in the majestic sequence where after brief instruction ("This is in C, yeah?" Hansard explains. "Yeah, I can see that," Irglova replies), the two launch into "Falling Slowly," Irglova on piano and singing harmony. Few sequences will move your soul as plainly as this dazzler.

Did I mention ONCE defies expectation? In any given Hollywood film, now would be the time where both would repair immediately to the bedroom. But the beauty of ONCE is the way it springs surprises on viewers, and none comes more pronounced than Irglova shooting down Hansard's request to spend the night (Which must be seen to be believed). Another large part of the film's success is owed to the refreshing way responsibility outweighs need. Rather than settle for the token girlfriend, Irglova assumes the role of Hansard's conscience and de facto manager, lending herself to more committed acts of partnership as securing a loan for him to record a professional demo. Unquestionably talented, on his own Hansard never rises above the impression of going anywhere fast. Irglova's selfless loyalty and aid is the moral boost to champion him to greater things, and one of the more inspiring aspects of the film.

This is not to suggest a potent attraction--or love for that matter--doesn't exist between the two. But for a film that skewers tradition even as it treads on them, happily ever after just isn't in the equation and ONCE is ultimately the better for it (Even if most viewers may secretly wish otherwise). Yet another large part of the film's success is the refreshing way Carney as a storyteller resolutely keeps the storybook friendship between Hansard and Irglova genuine. Rather than express themselves physically, ONCE soars whenever Hansard and Irglova tap into their conflicting emotions through song. And what songs! Think of other musicals released this year. "Sweeney Todd" is where mediocre songs go when they die. But in ONCE the music leaps off the screen by virtue of the vital, emotional honesty in the words and a most welcome rock edge. John Carney's ONCE is a one of a kind, independent triumph that trumps its low budget roots and seizes your heart without once falling victim to dull convention. ONCE rekindles the fading art of cinematic surprise and is a supreme, authentic masterpiece.


Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good Date Movie
Suitability For Children: Suitable for Children Age 13 and Older