It’s either the miracle of the stucco wall or the Rorschach of the water stain.Because the title character in “Henry Poole Is Here” has a problem with the M-word, he’s quick to rule out the miraculous when a neighbor sees God’s face in the water-damaged wall of his L.A. ranch home.
Director Mark Pellington and writer Albert Torres aren’t nearly so hasty. They pursue the film’s mystery with an earnestness that might frustrate rationalists.
In this quirky parable of salvation and faith, it’s women who throw the depressed Henry a lifeline. Because although Luke Wilson’s dour protagonist doesn’t admit it, it’s obvious to all that he’s drowning.
There’s supermarket check-out girl Patience (Rachel Seiferth). Through bottle-thick glasses, she takes note of the unshaven Henry’s buying habit: quarts of booze. He augments the liquid diet with Krispy Kremes and pepperoni pizza.
There are single Mom Dawn (Radha Mitchell) and her daughter, Millie (Morgan Lily). The wan, wise child doesn’t speak but stealthily records the conversations of the adults around her.
Even Henry’s real estate agent, played by Cheryl Hines of “Curb Your Enthusiasm,” tries to mother him. “They live there. They like it. That’s their home,” she says with indulgent clarity about the charming house on which Henry puts an offer.
Most annoyingly for grim-faced Henry, there’s next-door neighbor Esperanza (an appealing Adriana Barraza). First, the kindly woman comes bearing the gift of tamales. Soon after, she sees the face of Jesus peering out from Henry’s stucco wall. It’s a miracle — though we learn her attachment to Henry’s pale blue ranch home may be more human than divine. Not only does she ask the local priest (George Lopez, looking his compassionate best) to confirm it, she brings witnesses to Henry’s backyard.
Angry at the world for reasons revealed in flashback, Henry is further aggravated by these intrusions of believers and the hopeful on his slow suicide attempt.
It’s hard not to applaud the film’s gentle embrace of mystery and the healing properties of faith. The director takes the notion seriously enough to place the camera behind the wall. He gives the miracle a vantage point on the diverse group of pilgrims who approach it.
But “Henry Poole” never quite approaches the ecstatic.
Pellington’s use of music, like Esperanza’s intrusions on Henry, can be cloying. Perhaps because the director has had much success making music videos, the songs become interludes, calling attention to themselves and ladling more meaning onto the already sentimental tale.
We know that Henry is lonely and lost, but playing the Eels’ lovely “Love of the Loveless” or Dylan’s “Not Dark Yet” doesn’t add to our understanding.
The most amusing miracle in “Henry Poole” might be called the miracle of the cocktail.
After Henry tumbles with his tumbler in hand, the nearly empty glass is full in the next scene.
Bottoms up to marvels.
Film critic Lisa Kennedy: 303-954-1567 or lkennedy@denverpost.com
“Henry Poole is Here”
PG for thematic elements and some language. 1 hour, 39 minutes. Directed by Mark Pellington; written Albert Torres; photography by Eric Schmidt; starring Luke Wilson, Radha Mitchell, Adriana Barraza, George Lopez, Cheryl Hines, Rachel Seiferth and Morgan Lilly. Opens today at the Esquire.
