WATCH THE TRAILER HERE
First, the Recap:
Might it be the pursuance or the involuntary yet somehow present evasion of loving companionship that often drives us into a place of personal upheaval and discontent? Our desire to be near someone else, to share in a mutually experienced depth of love and acceptance, is a driving force we possess as human beings, though even after possibly having finally gained it, why does it seem that it can be SO hard to truly HOLD onto it, much less FIND it again? A solitary man (Eric Schopmeyer) wanders into the woods, an old record-player case in hand, clear intent initially unknown. But, even as his plan is revealed, the warnings about what he seeks and the outcome it might bring rear up in front of him. Undeterred, his journey involving a spectral woman (Theresa Hanson) ensues–but to what conclusion?
Next, my Mind:
I have to begin by stating that, at least for this critic, there’s still remains a definitive separation between what one would consider an actual music video vs. a short film that happens to FEATURE music as its primary narrative focal element paired with accompanying imagery. So when it comes to this 6-minute indie effort from director Brent Heise and executive producer George W. Daly, I am fully classifying it as the latter of those two arenas, even in spite of seeing several instances where the project IS being received, awarded, and construed AS the former. What stands out for me though, regardless of which way other viewers might choose to interpret it, is that the medium of short film continues to embody the unique stylings, artistic paths, and grander creative flow that independent filmmakers endeavor to bring about in order to rise above typical mainstream fare and offer a showcasing of the raw passion and bold drive to take what has been done before and make it fresh. I’ve said this a lot over the years, but honestly, it simply remains a true declaration of artists not being hesitant in just AIMING to be more original in SOME fashion at least.
With this film we’re given a narrative centered on a lone man venturing into the woods and the subsequent journey he takes with a ghostly woman he appears to be pursuing but always just missing all while immersed in the strains of a 1960’s song that carries the film’s namesake which very purposefully heralds back to those older days while the film likewise carries that same tone and feel, at times even to the extent of scattered black & white, mildly shadow-filled, noir-esque leanings and atmosphere. An aura of sheer nostalgia (or perhaps just purely fantastical, imaginative, in-one’s-own-mind conjecture) is experienced due to this format, a time jump that transports you to that yesteryear arena, as we’re briskly whisked away by a tale of longing, loneliness, love’s hopes and hurts, the elusiveness of what we strive for, and the dangers of opening one’s heart to it all when no absolutes or guarantees we will GAIN that which we yearn and seek after exist.
Additionally, and again with a distinct combo of portraits from past and present, the film delves into thematic explorations like the risks we take and/or the lengths we will go to to experience connection, to embrace what we desire or want for, the fleeting nature of beauty, how we can becomes caged and held captive by our emotions, asking whether we CAN actually find contentment when alone, holding to a positive outlook towards the future as such, and tirelessly chasing what remains seemingly forever just out of reach or unobtainable, and the acceptance of this which can be either cathartic or heartbreaking for all involved. It’s really a narrative that maintains an air of desperation and sadness, yet not to the measure of being some exercise in hopelessness or depression, but rather just a picture of the reality that solitude and absence of having a counterpart in life can elicit, much less what is left behind when that pursuit of it ceases. There is a tangible power in the utilization of only visuals and music here, driving events shown home with intentionality and emotive force, and I love when a film can successfully accomplish this sans dialogue.
In writing about similar executions as is demonstrated here narrative and visual-wise, I’ve always been impressed when actors can winningly depict all the necessary levels of emotional engagement with their character and the given story via body language and facial expression primarily (or here, exclusively) and do so with enough effectiveness to keep our attention to what’s unfolding in front of our eyes. I first feel that Schopmeyer displays this exact technique to the apropos extent that IS needed for his character portrayed, known simply as “Man”, a somewhat lost soul who is taking time to discover the depths of his current personal isolation via a trip into the forest to sort out what he’s feeling. As he does, there are initial signs that appear through the form of an owl (which then morphs into the main female apparition) that could spell a warning not to venture farther into his quest. But, as he chooses to continue, it then turns into the point of no return in facing what he so deeply wants, but cannot actually possess, having to come to terms with where in life he is and acknowledge it to hopefully encounter inward peace.
It’s a study in subtlety, understated but still filled with enough palpable resonance to allow us as the viewer to understand the Man’s plight, and Schopmeyer does a very adept job at manifesting these highs and lows of the Man’s adventures throughout. Then we have a truly ethereal presence that serves as both cautionary omen and catalyst for individual revelation and awareness for the Man, which is made real by the gorgeous Hanson as the Apparition, a phantom of alluring yet haunting manner who becomes the target of the Man’s ongoing attempts to capture the love and companionship he’s eager to acquire but yet consistently remains one step ahead of him at all times, an evasive entity that is both playful but somehow deceptive as well, as if knowing what the Man wishes to achieve for his life, sympathizing with him, yet also showing that sometimes, as another classic old song advises, you can’t always get what you want. I very much adored just how impactful Hanson makes the Apparition, an otherworldly siren who might just ultimately have its own sense of loss when the tale comes to a close.
It’s again an exhibition of muted intensity and purpose in how Hanson imbues the Apparition with relatable qualities as well as ones that would say “go no further”. Plus, the actress’ ability to embody an image of flirtatious infatuation as well as untouchable passion is admirably accomplished here through her performance. And so, in total, “The Girl Who Faded Away” is a lesson in seclusion, detachment, and unanswered need for love coupled with the drive, determination, and dogged endeavors to see it become part of our life again if at all possible. Even when this may NOT end up as a goal achieved, we can also be taught that this ISN’T the end of ourselves or our happiness, as it still might be coming to us in a form different than what we would anticipate, taking a little more time to be clearly seen, but worth it when it does arrive.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
