It's 5am Sunday, and New York teenager Craig Gilner (Keir Gilchrist) heads for a high bridge to commit suicide. Brainbox kid sister Alissa (Dana DeVestern), over-understanding mother Lynn (Lauren Graham) and pushy father George (Jim Gaffigan) are a few of the factors. On a whim he diverts to Argenon Psychiatric Hospital, but Dr Mahmoud (Aasif Mandvi) wants to send him home. Craig's desperation convinces him and he's admitted to adult Ward 3 North - the young person's ward is temporarily closed. It's a much tougher place than Craig was expecting.

'What's the world coming to? Bunch of nut-jobs in here,' says bearded middle-aged plump Bobby (Zach Galifianakis) as he points out inmates, giving Craig a fast tour. Craig's in for a minimum of 5 days, so no going back to school. His parents arrive and instead of getting him out tell him - sympathetically - to stay: they've done all they can.

Tough, warm, understanding psychiatrist Dr Eden Minerva (Viola Davis) lets Craig open up as she assesses him. When does he remember being happy? He frowns; his face lights up - roller blading with his best friend Aaron (Thomas Mann) through Bay Ridge and Sunset Park to Brooklyn Heights. Then puberty, and his problems began. Craig's at New York Executive Pre-Professional High School. For days he's been stalling his application form for elite Franklin Gates University Summer School. It's his passport to the upward trajectory of everything in life his family and friends expect for him. And he's afraid.

Craig's Egyptian room-mate Muqtada (Bernard White) never leaves their room, seldom leaves bed. Wide-faced long-haired Johnny (Adrian Martinez) advises Craig on the best technique for getting girls - tell them 'I love you'. Science teacher Mr Reynolds (Leo Allen) haunts Craig's dreams - how will he make up missed lessons? Former Hasidic-acid-head-scene stalwart Solomon (Daniel London) took 100 tabs, has never been the same again, and finds every noise intolerable. Craig's terrified that his clever school friends such as Nia (Zoë Kravitz) - Aaron's girlfriend and his perpetual erotic fantasy - will find out he's in psychiatric hospital. Humble (Matthew Maher)'s head is closed-shaved; he's quiet and friendly, and draws real beavers in art class - rather than the vaginas art-class teacher Joanie (Morgan Murphy) was expecting. Bearded Smitty (Jeremy Davies) always wears a hat; he's cheerful.

Craig discovers drawing - it's a volcanic release. Suddenly, he can do something - and it's in the company of all the other inmates, something they achieve together. He is accepted, approved of. And music. A fantasy, in costume, of pretty much the whole cast performing Under Pressure (by Queen & David Bowie) in costume is one of the stunning visual and feelgood highlights of the film.

There are several interweaving stories - each one penetrating and emotional. Bobby's story blends with Craig's. 'It would be better off for all of us if you were dead' says Bobby's ex-wife (Mary Birdsong). Bobby begins to believe it. Gently, teasingly, he provokes Craig to find himself, but inwardly Bobby declines. They practice Bobby's interview to move into a care home, but Bobby flunks it (he thinks) and plunges back into despair. When Craig is under stress, he habitually projectile-vomits. Bobby is understanding, spots Craig's attraction to self-mutilating, cut-marked, pretty Noelle (Emma Roberts) - and rehearses chatting-up techniques with Craig.

Noelle is drawn to Craig, and the two of them edge to each other, finding a language of communication in sketching pictures; and a way of questioning which lets them avoid their barriers of uncertainty, their lack of confidence. 'I don't have any friends,' says Craig. 'This is very tough thing to learn,' replies Muqtada, speaking to him for the first time. And so another person begins to open up. There are revelations in store for Craig: from Aaron, from Nia - surprising vulnerabilities and tendernesses are revealed. And from Noelle, who becomes part of his future possibilities - as he of hers.

Bobby is part of the saving of Craig, and Craig is part of the saving of Bobby. A feature of this gentle story is that each person is part of the saving of each of the others. It's a film which isn't afraid to run a blade under the surface, and cut down deep. 'I think she is better off without me', says Bobby of his 8-year-old daughter Veronica. Craig, recalling a small hand desperately trying to hold on to Bobby's, is able to contradict him with authority.

It's not a film of easy answers nor miracle cures, and it's a profound and optimistic one. It's perhaps rare that a script works its way easily down to a level inside people at which fears and anxieties reside without being preachy, theoretical or sentimental. This one does. An inspired ensemble cast, extraordinarily sensitive writing (screenplay by joint directors Anna Boden & Ryan Fleck from the novel of the same name by Ned Vizzini), lively direction (Anna Boden & Ryan Fleck), a fabulous soundtrack from band Broken Social Scene, and a massive dollop of fun, plus cues for floods of tears (jumbo box of Kleenex advised), create an unforgettable delight.

Cast Credits: IMDB: www.imdb.com/title/tt0804497/

Company Credits: IMDB: www.imdb.com/title/tt0804497/

END

John Park

reviewed Monday 4 October 2010 / NFT1, National Film Theatre, London UK

Fringe Report (c) Fringe Report 2002-2012

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