Once

source: Once

Once is about a young Irish busker with a torn guitar and a raft of achingly felt songs about a girlfriend he lost the year before. He works in Dublin at his dad's Hoover Repair Centre. One day as he's playing on the street a Czech woman who sells roses and cleans houses comes up and starts to talk to him. She's somewhat cool but she's also disarmingly honest. The dialogue seems understated, offhand, but the words seem to come from the heart. She plays the piano (and later reveals she's written some songs herself) and they get together to make music. Both are suffering from love affairs that went wrong. He longs for her but she keeps her distance. The simplicity of the acting makes the characters seem real, like everything else in the movie. It doesn't try too hard. It trusts its material, and it works. The recording session they wangle with a group of other buskers (two guitarists and a youthful drummer) is a metaphor for this whole film. These people know nothing about recording, but they've got good material and the initially skeptical engineer winds up acknowledging that they've made a beautiful thing. Once's transitions are a little awkward sometimes and its images aren't fancy, but the story moves you without having any sentimental payoffs. Kitchen sink film-making: it works if you believe in what you're doing. And have something to work with. The core of Once is the music. It's what they have to work with. The studio recording session has the good feel of things coming together: it's so strong and uncalculated-feeling, it makes the studio scene in Craig Brewer's Hustle and Flow look self-conscious. In Once the sound of the music speaks without special need for dialogue or close-ups. The real love story of Once is the love of musicians playing together. Few movies perhaps have captured any better that warmth and pleasure of making music with others. People have said this is a musical. If so, it redefines the musical as some American musicals have done recently, especially Spring Awakening and Passing Strange. What makes the idea fly is that it's as if the young man and the young woman can't express what they feel for each other, and the only way they can get their emotions across is to burst into song. But the songs are their songs, not some composer's. It's all perfectly organic. Perfection, it turns out, doesn't have to be perfect. Starring Glen Hansard of The Frames and Marketa Irglova.

Sometimes I can see why someone would "hate" a film that I love. This time I just don't see why anyone would dislike this film. It's a simple, unpretentious, lovely film. I've recommended it to several people (male and female) and they've all loved it. The soundtrack's lyrics hint at a very different film, with more of the predictable sex/possessiveness/anger/painful character arc thing that we usually see, and perhaps people are missing when they criticize this film. I found it refreshing NOT to see those things, to know perhaps that a decision is wrenching but without the melodrama. And even more refreshing is a script that never once beats us on the head with information, but lets us "hear" the characters not only in the songs (in fact the lyrics are not "on the nose" as they generally are in musicals but instead simply add nuance, flavoring the script) but in what they don't say, and in the choices they make without exposition and explanation. I didn't notice any of the technical flaws people have mentioned. Any lack of "polish" in the camera work only added a hint of realism to me, as if it were my eyes instead of the camera watching this vignette, as a warmly invited guest. Little time is spent showing us unnecessary views of the city, or vistas to long after. It could be anywhere in the world, because the world is reduced, for a few days, to what's important to these two people, and we fall for them as they fall for one another. The film does have an ending, it's not left up in the air (contrary to some comments here) - but it may not be the one everyone wishes for, or has been conditioned to expect. More than one person, including folks commenting here, have said the same thing: What a lovely film . . .

This movie has been getting a lot of attention, and has even made quite a few best-of lists. In a way, it's perfectly understandable: this movie is about music, it has good music, and mostly importantly, the good music it has is about the emotional ambiance of the characters, something that can be totally felt from the music. As an inspirational art-piece, it allows the creative desire for music and the expressiveness of music to wash through the viewer. However, I'm a film critic. I admit that sometimes that means that I have quips with a movie that possibly don't deserve it. Sometimes I worry about craft and function where it doesn't matter, where the point is only to tell the story or relate a certain sensibility, which is what I gather this movie is trying to do. But let's face it, as a movie, this movie sucks. The music is wonderful, and with a few bits of the dialog thrown in it would make an interesting narrative concept album. At any rate, it's quite the audio experience. It's visual aspect, however, goes beyond "leaving a lot to ask for". Its cinematic-ness, the visual storytelling of it, is completely inept. Here's the thing: it's a cheap production with hand-held cameras, but that's not why it's bad: it's bad because the production never rises above its limitations. Almost 60% of this film seems to be the camera-person just trying to find a place to set the camera so that the image doesn't just sit static or eventually become boring. You know, a good cut could possibly help, but unfortunately the filmmakers are much more interested in long takes, long takes that basically involve shifting perspective for no real reason but that they suddenly realize "oh, oops, this is a movie, better get a different angle." Forget actually setting up a scene or telling a story visually--this movie lays its emphasis so much on the music and dialog that almost all of it doesn't have to be watched at all, only listened to. And that is what I consider to be inappropriate. A movie about music can rely on its music to make most of its statements--that's fine. A movie that relies on its music to make most of its statements, however, cannot forget that the audience is watching. We need something to look at, something to engage with. I'm not talking fast cuts or unique editing or anything particularly special. I'm talking about something that doesn't involve the cameraman walking the camera from one side of a piano to another. I'm talking about needing some level of craft or design that helps bring the audience into the music instead of making them steadily stop watching the movie and just listening to the music solely. I'm talking figuring out how to express, in imagery, the same feelings the music is supposed to be expressing. This film doesn't do that, and thus this film fails as a film. The drama and performance is there, but not captured. The beauty and emotion is told, not shown. That is why this is not a very good movie. --PolarisDiB

"Once" is a beautiful independent film made in very little time and on very little money. That alone almost makes this film worth watching. The love that this filmmaker has for music and music in film is evident. Unfortunately, there is no good story past the music. I don't care all that much for music and have no great affinity for music in film. This movie offers you nothing more. The writing and acting were not great and I found nothing enjoyable in it. Music lovers unite, you have most likely found a wonderful film, but for those expecting more, beware of the melodic front. Because I couldn't get into the music, I couldn't get into this film.

If the original lead actor (Cillian Murphy) hadn't dropped out at the last minute this movie probably would have felt extremely melodramatic and clichéd, but Hansard's spot-on authentic portrayal is amazing mostly due in part to the fact that he isn't really acting but playing himself. There is also a beautiful scene involving the lead actress trying to write the lyrics to one of his songs as she is walking home from a convenience store that illustrates the creative process on a realistic level that I have never really seen done before on film. Amazing that this film was made for $150,000. The fact that they didn't have a lot of money actually, in my opinion, helps make the film that much better. There are elements of naturalism and realism working in this film on levels that are sorely missed in today's mainstream cinema. Anyone who loves music and/or learning about the creative process of writing will thoroughly enjoy this small gem of a film. The well-written script also surprisingly manages to NOT take the predictable road one might expect when making a film of this nature, which is an extremely tough task to begin with. You'll know what I'm talking about after you see it.

If you've heard of "Once," you know it got great reviews. I'm here to tell you that those reviewers were on the payroll of a multinational corporation with a devious plan for separating you from your money. What is "Once," really? Plague! Famine! Cholera! Santa Tortured On screen! 666! Okay, maybe I'm exaggerating, but, I've got to tell you, given that I just watched "Once," I wish I had watched Santa Claus tortured on screen, and I *love* Santa Claus, and am firmly opposed to torture, in most instances. I'd make an exception for the makers of this film. "Once" is the story of a middle-aged, potato-faced Irishman with transparent eyebrows and buggy eyes who lives with his father, can't sustain a relationship, and whines/shouts – in lieu of a singing voice -- embarrassingly sophomoric, self-absorbed, simply bad singer-songwriter confessionals on Dublin sidewalks. Every lyric in this movie could have been copied, without editing, from the diary of that androgynous kid you knew in high school who had skin like a girl and who cried, but who was actually a guy. Lonely girls would think he was the most sensitive, special boy on the planet, because he stood on the sidelines during gym class, but he was actually a jerk. The male man character – he has no name – giving characters names is so Hollywood! -- picks up a Czech girl who looks about 12. The actress was 17. The Irish guy was 36. If that's attractive to you, chances are you are an aging singer-songwriter looking for a teen girl who can really understand you and your deep, sensitive heart. Think that they might make a film about a 36 year old MALE potato-faced Irish singer-songwriter with transparent eyebrows who picks up a 36 year old FEMALE potato-faced Irish singer-songwriter? Naïve you. The Czech girl mutters and slurs – she's trying to do a Czech accent. The actress, who was born in the Czech Republic, actually grew up in Ireland, and cannot imitate a genuine Czech accent – that's why she mutters and slurs. One would think that an ability to produce a Czech accent would be the entry level skill for the part of a Czech girl with a Czech accent. The director said that many viewers told him that they didn't care that they could not understand the dialogue. He thought that they were complimenting him. Given the pointless, dreary, poorly lit, shaky images, the director was a toddler to whose diaper a camera had been strapped. Let us hope that this innovation is not picked up by other filmmakers. Nothing else happens. The guy with the transparent eyebrows shouts out self-absorbed singer songwriter songs about how hard and painful his life is and how sensitive his heart is. The teenage girl slurs her words and is the on-camera teenage girl desired by a man twenty years her senior. The characters use the "F" word repeatedly. AND THAT IS ALL THAT HAPPENS. I'm so moved, it was all so poignant, I think I'm going to go puke.

Probably the one thing I would say about this movie that is even remotely negative, is that if you don't like the music, then you are completely out of luck. Otherwise… This movie is about a Guy (no name) and a Girl (same deal) who meet on the street while Guy is busking, a side gig from his day job as a vacuum cleaner repairman. The two form a bond through music, as they jam together in a music store, then ultimately they go through a weekend recording his songs before he goes off to re-unite with his lost love. Trying to explain this movie to someone who hasn't seen it, it just seems like a movie about nothing, 'cause the plot is so spare. But everything felt true--the dialogue, the way the two musicians relate, the way it captured the feeling you get when you see something you've created become real. This movie totally won me over after the recording session, when it is early in the morning, the studio technician and the band go out to do the "car test"--seeing if the songs still sound good on inferior speakers. It is at this point you feel this "seizing of the sword" moment of triumph for Guy--this is what he has worked for, this is what he has created. It is a moment that all artists live for, and this is the reason I will go see it again.

Everyone seems to literally be in ecstasy over this film and it's just won the Oscar for best song. It went down a storm at Sundance receiving a standing ovation - even my best friends rate it highly. So many people can't be wrong? True, it's amazing that it was made on such a small budget, but in my opinion it is basically naff, hackneyed and tiresome. Maybe it's the Marmite syndrome, maybe it's the Emperors new clothes. I've watched it a couple of times thinking that I had missed something. But nothing - I was still bored and found the whole experience was exacerbated by the discomfort of watching poorly shot, unfocused and wobbly images. The music was just about bearable to me, nothing more. I don't believe there is a right way or a wrong way to make a film as long as it touches something inside you. I guess I'm perplexed and intrigued by the overwhelming and unanimous response that this is a brilliant and multi-layered work of film art and entertainment. It didn't move or entertain me and what critical faculties I posses were affronted by the cliché ridden self indulgence so poorly realised. The complete lack of any original technique 'verite' or otherwise and performers who lacked any ability to engage me. But the audiences bellow with praise and an almost religious fervour - I guess I will have to go watch it again or should I just trust to my instincts and leave well alone? You guys like Marmite, I just can't stomach it - it makes me wretch.

ONCE is a film to see and cherish for the magic of song and music combined in the setting of Dublin for a young man and woman who meet and who make wonderful music together. The only issue is she's married to a bloke in another country. But that doesn't stop them for creating a wonderful piece of music which will stay with them forever. John Carney has directed and written a brilliant film which tags at your heart and makes your feet dance all at the same time. "Guy and Girl" are tremendous in their parts and the humor and passion they bring to their music. Dublin is such a great location for this film and it resembles London in so many of its blocks of buildings. The bond is also wonderful to see between father and son and the encouragement which the father gives his son. ONCE gives you a time in your life when you meet your soul mate who brings the music to your heart you have always dreamed of...as well as a Hoover vacuum-"who knew?" See ONCE, because "once" you do, you may come back for more.