memories of youth, and deep love between a man and a woman which has lasted a long time. I will not give you the plot, just ask you see this movie as soon as possible. Despite its shoestring budget, it is a GREAT film, written produced and acted by some of the greatest talents of our time. Mr Duvall is worth seeing in this tale, but the supporting cast makes it a superb experience. If you want see a great film crafted by genius, then I urge you not miss it!!

assistance in the form of two workers at the local funeral parlor,Frank Quinn & his partner Buddy. The three of them plan the mother of all funerals to take place on Felix's land a mighty feat,considering most of the townies want little or less to do with him . In the midst of all this,a woman from Felix's past turns up Mattie Darrow to make things even more interesting. All of this makes for a multi layered story that,despite the dark subject matter,will have your head in the clouds trust me . Besides the superb work of Robert Duvall,as Felix,there is ever so fine work from the likes of Sissy Spacek where has she been lately? ,as Mattie Darrow,Bill Murray,as Frank Quinn ever deadpan as always ,and Lucas Black as Frank's business partner,Buddy. With Bill Cobbs,Lori Beth Edgeman,Gerald McRaney...and featuring Gracie,as Felix Bush's mule,Gracie who would have thunk it? . Aaron Schneider,working his way up from cinematographer & film editor for television projects,directs & edits from a screenplay written by Chris Provenzano & C.Gaby Mitchell,from a story by Scott Seeke & Provenzano. Cinematography by David Boyd. The film's musical score is composed by Jan Kaczmarek incidental music ,and legendary Bluegrass musician,Jerry Douglas for some of the American roots oriented musical score ,as well as some nice use of some actual 1930's period popular music of the era Example:does 'If I didn't care'by the Ink Spots strum a familiar chord with you? . This is tasteful film making,with top notch acting from a superb cast. Rated PG-13 by the MPAA for a few outbursts of rude language & some adult themes

making that can be done with excellent actors working on a minimal budget. The period setting in depression era Tennessee was entirely believable. The film is both very funny and deeply moving.Very loosely-based on real events, the film tells the story of a backwoods hermit – played by Duvall with grace and spirit – who decides to hold his own funeral while he is still alive. The story is about loneliness, guilt, redemption, forgiveness, love, and human mortality. There have been few recent films that explore such difficult territory and do so with such humanity, decency and humor. I hope that this film gets a theatrical release so that more people can enjoy this rare treat.

beauty are only skin deep... and talent grows with age.

who comes to speak at the funeral. The director, Aaron Schneider, captures the period extremely well and the cinematography and musical score are wonderful. The movie handles tough subjects like death, regret, suspicion and guilt with wisdom and a gentle humor that allows the audience to take it all in like one big ice cream sundae. Bravo ! Go see it ! Tell your friends to go see it !!

actors' comedic timings. There's a lot of dry humour that I found myself laughing out-loud many times. The significance of the film is the psychology in its heart. Throughout, Duvall drops hints as to what his character is all about. You find yourself thinking about who he really is, and what he really means with every line he says. Robert Duvall just may be the best subtle actor."Get Low" is very stylized. Set in the 1920s, the director and cinematographer paid attention to the lighting, casting shadows where they wanted them, providing a dark atmosphere when needed to echo the times of the depression-era. I'll also call the humour stylized, it's dry, and it can take you a minute to make sure you got it right.The one down-side is that the film-makers may have made it a bit too artsy and not accessible enough, because otherwise this could be up for every major award. At least we can rest assured that the Academy knows where to find Mr. Duvall.

or no dialog. What dialog there is offers several levels of potential meaning through pregnant pauses, ill-defined sentence fragments and questions with no immediate answers. The viewer either chooses to fill in the blanks by closely observing peripheral elements in each scene, or simply awaits a climax that ultimately explains everything. That scene never quite tells all, but intentionally and inventively so. It's the former viewer for whom this film has been so meticulously well-crafted to side-step the clearly declarative and ultimately obvious. The score is a particularly captivating mix of period Americana and original music that resonates with the time and place -- even when performed by a Polish orchestra or under-appreciated U.S. folk/country performers of our own era. In short, GET LOW is a niche film that quietly rewards a cinema-loving audience for investing its full attention. Leave your smart phone at home for the best multi-tasking experiences are built into the work itself. The 2009 copyright date indicates Sony Classics, after due deliberation, acquired a "hard sell" that other studios overlooked.An early October Oscar season screening of this December U.S. release ended with much applause, atypical for guild audiences. Almost half even stayed through the credits, an indication that many involved in the film on all levels are worthy of name-recognition "for your consideration.

film you'll never get into that dog's mind, and you will never know what it is thinking or feeling. As with dogs, the film says, so even more so with people. At the beginning of the film, we see blurry images of an event, and at the end of the film, we see an explanation of that event--a humbling apology the "get low" idea, along with being buried that is deliberately distanced from us: We know that this apology is meaningful for Bush, and for another character there, though perhaps for different reasons. But we are outside--and forced to be outside by the camera shots--of the experience we can see this event affords for the characters. Similarly, in another scene, a sympathetic character is the victim of a robbery--but we only see what he saw, which does not include the things that happened to him. We see a church, and are told that maybe Bush's soul is expressed in this church--but we do not see, nor are we told that we can ever understand, how the character who tells us this can know these things...if he does. Characters in this film are a mystery, to each other, and to the audience; and the filmmaker forces us to be kept out of the mystery. The audience, too, is made to "get low"--to give up its arrogant assumption that we are going to be told anything other than superficially who these characters are, why they do what they do, and even what we have been shown. But what we do see is involving and draws your mind back to the mystery that is other people. In that sense, it is very much like the atrocious There Will Be Blood; only where that movie promised to show you who its protagonist really was, but never did, Get Low promises you nothing, and tells you flat out that you're being presumptuous and shallow even to expect that you can find out, truly, about this character, or anyone else. It merely opens the character up to you, as a vehicle for your own introspection.All in all, a very interesting, intellectually stimulating, and assertively humbling movie.