It’s refreshing to see a story set in the past, in the deep south, that’s not about racism or unknowing hikers getting anally raped by toothless scoundrels while retarded, barefoot kids play the banjo on a broken-down old porch.  While the south was a time of great misjudgment during a large part of its history, stories like this - of redemption and neighborliness - are absent in Hollywood.  Get Low tells a simple tale, simply.  Its humanity is its appeal, and it is well-made.

Long-time Cinematographer Aaron Schneider directs his first feature (his directorial debut, Two Soldiers, took home the Oscar for Best Live Action Short in 2004).  Despite lots of criticism for cutting away from Duvall during his climactic speech, Schneider’s direction is laudable and unobtrusive.  It even touches on poetic (Spacek throwing out the flowers).

Robert Duvall is...well, he’s Robert Duvall; I could watch him sleep and he’d make it interesting.  He’s not pulling out any new tricks here, but brings the same sincerity to this role to every role of his career.  Felix Bush is a complex man, and Duvall exercises great restraint in his portrayal.  Sissy Spacek is solid, but has little to work with.  Bill Murray’s use of comedy within this world of drama is subtle and well-placed.  And Lucas Black (the kid from Sling Blade) brings great heart to Buddy - the heart-of-gold southern guy who lives by his principles and respects others. 

By the time Felix and Buddy amble into Reverend Gus Horton’s wooden chapel, I was sitting forward in my seat - as was the audience around me - longing to know the answer to my question: “How did this man wind up like this?”  Rev. Horton, played by Gerald McRaney, is the only black character in the film, and he enters and exits without so much as a qualifier or mention of his race.  Refreshing.

There are no explosions in Get Low.  No quick, MTV-style editing tricks.  Just a plain and simple story, about humans and their flaws, their fears.  And life.  Beautiful life.