Dickey and Wes Studi play childhood sweethearts who reunite in Max Walker-Silverman's affecting feature directing debut.
“A Love Song” avails itself of Dickey’s usual strengths, even as it vaults her, in a belated but entirely welcome development, from sterling supporting player to luminous lead. And Dickey, in a performance of few words and zero histrionics, nonetheless unleashes an astonishing range of emotions. An appraising glance at the terrain can turn suitably awestruck; a moment’s fondly remembered pleasure can give way to piercing regret.
She’s waiting, we soon learn, for someone she grew up with years ago nearby, either an old flame or a childhood sweetheart. She has no idea what to expect , or when he might show up; a wall calendar indicates that it’s the year 2020, but Faye has no computer or phone. And so she sits and waits, for a postal worker who stops by regularly with friendly chatter but no letters, and for a second chance at love that may never materialize.
It will materialize in due course. That’s no more of a spoiler, really, than the names of the constellations that Faye identifies in the night sky, or the titles of the songs pouring from her radio. I suppose I could leave undisclosed the fact that Faye’s old acquaintance is played by Wes Studi, though only at the risk of underselling the movie.
“A Love Song” has the narrative economy and the sneaky emotional power of a well-crafted short story, plus a feel for isolation and rootlessness that harks back to some of the great drifter portraits of American independent cinema. It’s a testament to the lyricism that Walker-Silverman conjures here that I sometimes wished he would slow his narrative roll even further, immersing us even more deeply in the story’s quotidian rhythms.
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