WATCH THE FILM HERE
First, the Recap:
Love at first sight. Falling head over heels. It’s a feeling unlike so many others, as it can strike without warning and completely capture your every thought and fancy when it comes to romance, flooding the heart at the notice of a person that could be “the one”. For a local flower vendor (Andre Boudreau) starting his day, it is a familiar scenario. As patrons come and go, one man (Ryan Hanley) strolls by and is suddenly stopped in his tracks when he spots a young woman (Lauren A. Kennedy) sitting quietly eating her lunch on a bench.
Hopelessly smitten, he wanders about in the vicinity until finally deciding to work up the courage to speak to her, after purchasing a flower of course. But when she is gone upon his returning, it sets in motion a series of ongoing attempts to have the opportunity to draw her attention and officially meet, all of which seem to end up with nonfulfillment due to a wide range of humorous factors and occurrences. When fate ultimately seems to cooperate, complete with envisioning their future, will the man finally gain the object of his affections?
Next, my Mind:
With the true beauty of a soundtrack both moving and full of whimsy plus some excellent physical, dialogue-free acting, writer/director Nathan Suher’s 10-minute ode to 20’s-era silent films and unrequited love carries with it feelings both heart-warming and heart-breaking. Deftly utilizing facial expressions and Charlie Chaplin-style visual comedy, the brisk pacing and jovial antics involved with one man’s innocent efforts to gain love is wonderfully executed and completely draws the viewer in from start to finish. As mentioned prior, the film’s musical score, created by Kevin Keough, ebbs and flows like a character on its own, invoking a tone and mood perfectly suited to the narrative.
Hanley is simply fantastic as The Guy, having to rely solely on his body language and facial movements to covey every little nuance of the character’s plight, and it is truly engaging to watch as Hanley enacts this poor soul’s dogged determination to win the girl. Likewise, Kennedy’s portrayal of The Girl is equally solid, but on a different level, in that she gets to play the character in such as a way as to make us realize she has no awareness whatsoever about the attention she has drawn to herself. Boudreau’s Flower Vendor is also a complete joy to watch, as he is this sole, uniquely longsuffering, and involuntarily involved witness to the man’s actions, all the while knowing another reality as yet to be revealed.
Finally, just being truthful, if actress Alexandra Cipolla’s supporting moments in the film, especially in the final act, doesn’t completely endear her to you, please check your pulse immediately! Overall, “Right There” is an uncomplicated, totally accessible piece of independent filmmaking that makes a wonderful addition to anyone’s viewing slate with the acknowledgement that indie film is so full of deep passion, heart, and story-based intent.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
