Sundance 2003

Detective Fiction

By TODD MCCARTHY

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Mo Collins and Patrick Coyle play a couple whose marriage is on the rocks in Coyle's 'Detective Fiction.'

A Ten Ten Films and Farnam Street Ltd. presentation. Produced by Paul Johnson. Executive producer, Michael McHugh. Directed, written by Patrick Coyle, based on his play.
 
Jennifer Hannan - Mo Collins
Jack Hannan - Patrick Coyle
Leslie - Sarah Agnew
Elliot - Brent Doyle
 

Modestly engaging "Detective Fiction" illustrates a cuckolded husband's efforts to channel his anger through a creative outlet. In turning his 1994 play into his first feature film, Minneapolis-based actor-writer-director Patrick Coyle never really gets past the literal-minded and earthbound conception of his piece. But solid thesping and sympathy developed for a couple anxious to work out of a marriage-threatening crisis give grown-up audiences something to grab onto. Title, however apt, suggests pulpy thrills that aren't attempted, much less delivered, and while supportive reviews might float a small theatrical launch, wider viewership looks to lie down the line on cable and homevid.

It's easy to imagine this emotional drama as a stage play, what with its surfeit of two-character scenes and blackout-like switches from domestic turmoil to tough-guy revenge fantasies. Childless, fortyish marrieds Jack (Coyle) and Jennifer (Mo Collins) are barely communicating, except in occasional therapy sessions. Having abandoned social work and returned to college for fresh stimulation, Jennifer has found additional stimulation in the arms of half-her-age student Elliot (Brent Doyle), although at pic's outset she tries to break off the relationship.

Jack, by contrast, has retreated into a fantasy world, locking himself in his study to dictate a Chandleresque novel that provides some release for his suspicions about Jennifer. A technical writer by trade and an alcoholic who's been sober for a year, Jack feels compelled to keep his project secret from his wife, and his remoteness strongly exacerbates the void-like atmosphere that has settled around the spacious house.

Jack and Jennifer relate to one another not so much with distaste as with painful tentativeness. Whereas Jack has decided to work through their difficulties his own way, and alone, Jennifer, who clearly still loves her husband, makes periodic efforts to break through the ice. Film's most poignant moments are those in which Jennifer, with various degrees of timidity, caution and humor, tries to test the waters to see if any real contact with Jack is possible. Unfortunately, it isn't, as he insists upon pushing his creative confrontation with his real-life problems to the limit; only then, perhaps, can a new chapter in their lives be written.

Cinematically, Twin Cities-lensed film is competent but unexciting, leaving it to the actors to carry the day. A bit straight-laced and sincere to give the maximum resonance to stoical tough-guy attitudes, Coyle still knows this material better than anyone and gives nice deep-voiced readings to his decent, if not inspired, dialogue. Collins ("Mad TV") is very good as a woman whose surreptitious behavior stands in stark opposition to her fine basic nature.

Outstanding artistic contribution is the highly original score by Jimi Englund and Greg Herzenach, the jazzy basis of which doesn't prevent it from significantly cranking up the mystery quotient when needed. Blow-up from Super-16 to 35mm looks perfectly decent.

Camera (Alpha-Cine color), Gregory R. Winter; editor, Jeffrey Stickles; music, Jimi Englund, Greg Herzenach; production designer, James R. Bakkom; costume designer, Deborah Fiscus; sound, John Simms; sound editor/designer, Rick Meyer; line producer, Mary Rapacke; associate producers, Lily Baber Coyle, Andrew Jett; assistant director, Dan Orozco; casting, Lynn Blumenthal, Sarah-Jane Hill. Reviewed at Sundance Film Festival (American Spectrum), Jan. 20, 2003. Running time: 102 MIN.