It wasn’t that long ago I went to the movies almost every Saturday afternoon. In recent times, though, that behavior has all but disappeared as the product from Hollywood seems to be more and more drivel-of-the-mindless-type all the time. Until Friday (two days ago), the last movie I saw in a theatre was sometime early last summer before I moved south.

But when I was in Eugene on Friday, I decided it was time, again, to take in a first-run film…so I went to see Stranger Than Fiction on its opening day. This was a rather odd choice of a movie for me, as anything with Will Ferrell in it is bound to be rather juvenile, isn’t it? I mean, after all: Talladega Nights: The Ballad of Ricky Bobby ? Give me a break!

Despite these thoughts, though, I had seen the movie trailer and it seemed oddly intriguing. Also, it had other interesting cast members such as Dustin Hoffman and Emma Thompson, actors that generally appeal to me. So, given that I was in the mall right across the street from the theatre, I said, what the heck…

This movie tells the story of Harold Crick (Ferrell), a single guy, who (rather like me, I’m afraid) “lived a life of solitude. He would walk home alone; he would eat alone. When others’ minds would fantasize about their upcoming day, Harold just counted brush strokes…” (well, no, I don’t count strokes as I brush my teeth, thank you very much).

The passage, in quotes above, is from the voice (Emma Thompson’s) that Harold begins to hear in his head one morning while he is brushing, a voice that narrates the events of his life as they happen, a voice that speaks, according to Harold, “about [him], accurately, and with a better vocabulary…”

The incessant voice is quite annoying, and it was heading in the direction of totally immobilizing him (as it was the only way to stop the running narration). That is, until one day, the voice observes, “little did he [Harold] know that events had been set in motion that would lead to his imminent death” … an observation that, naturally, tips Harold over the edge. He’s going to die? Imminently ??

Having already sought help from a psychiatrist (played by Linda Hunt) – who simply wants to medicate him – Harold then decides to seek assistance of another type, this time literary help in the form of literature professor Jules Hilbert (Dustin Hoffman). The dominant questions become, after Jules finally decides to pursue the investigation:

• is Harold’s life a comedy or tragedy? and
• what are the possibilities, among living authors, for the identity of the narrator’s voice?

Naturally, as it turns out, Harold is the character in a novel being written by the Emma Thompson character, author Kay Eiffel. And it is Eiffel who must figure out a way to kill off Harold, as all the heroes in all her books always die in the end.

Along the way, however, in a totally romantic-comedy manner (and coincident with the decision that his life is a tragedy), Harold has an incredible thing happen to him. He meets bakery-shop owner Ana Pascal (deliciously portrayed by Maggie Gyllenhaal), and begins to think about her all the time. Although love has (apparently) never been a part of his life before, it becomes a dominant element now.

Despite all this, Eiffel continues to struggle mightily with just the right way to end Harold’s life. As die he, inevitably, must.

As Roger Ebert points out in his review of the film, the question of how (or even whether) to kill off Harold “is the engine for the moral tale.” Ebert continues…

How rare to find a pensive film about the responsibilities we have to art. If Eiffel’s novel would be a masterpiece with Harold’s death, does he have a right to live? On the other hand, does she have the right to kill him off for her work?

I suggest you go see Stranger Than Fiction and wrestle with the issues raised. I don’t think you’ll regret the time you spend engaged in your pondering mode.