By: debbie lynn elias
Making its debut last month at the Los Angeles Film Festival is one of the indie charmers of the year, TERRI. In what can only be described as one of the warmest, most poignant and compassionate, darkly funny, wry and most embraceable of films, director Azazel Jacobs teams veteran John C. Reilly with newcomer Jacob Wysocki for the telling of a very special film about some ordinary people and some extraordinary relationships. Using the fertile ground of high school as a backdrop, TERRI is a coming of age story, no matter what your age.
TERRI is the guy that if you weren’t him, you knew someone like him. Extremely overweight, but content in his own skin, TERRI is a guy you take at face value. He is who and what he is. Wearing pajamas 24/7, accompanied by the never stylish Dearfoam slip-on mule slippers (which do wonders for establishing a distinctive walk as you try to scuffle along and not lose your slippers), TERRI is the butt of every cruel joke and person in school. Appearing wise beyond his years, but still with the heart of a child, TERRI lives with and cares for his uncle who suffers from Alzheimer’s, another fact which does nothing to help his popularity.
Mr. Fitzgerald is the vice-principal of TERRI’s school. A somewhat nerdy looking guy himself with curly uncontrolled hair and a slightly frazzled personality, Mr. Fitzgerald appears to be a tough talking disciplinarian but somewhere under that outer crust is a guy generally concerned about “special” students, of which TERRI is one. Mr. Fitzgerald also takes great interest in a troubled young boy named Chad who spends his days pulling his hair out of his head. He also gets involved with Heather, a pretty, blonde, petite A-lister who is the long distance object of TERRI’s affection. In fact, it’s because of TERRI’s defense of Heather when she is wrongly accused of sexual misconduct that she, too, becomes one of Fitzgerald’s special students.
An understanding man, Mr. Fitzgerald knows what it’s like to be on the outside, not be part of the gang, not be accepted. His school days were just like those of TERRI and Chad and Heather. The beauty of Mr. Fitzgerald, however, is that he is still just as nerdy as ever but, like TERRI, never sees himself that way. As Mr. Fitzgerald opens up to his young charges, they likewise open up to him, especially TERRI, whose bond with Fitzgerald is one of great friendship and admiration. And as the school term progresses, through weekly meetings with Fitzgerald and a glimpse into his home life, we also form a special bond with TERRI.
Blanketed in a home filled to the brim with tangible memories of his uncle’s life, TERRI has developed an appreciation for opera, the stars, education, literature. Nooks and crannies are chock full of knick knacks, all with special meaning to TERRI and Uncle James. On medication for his Alzheimer’s, sometimes Uncles James has great moments of lucidity, moments that both he and TERRI cherish. But then there are those times when TERRI becomes the adult, carries Uncle James to bed and tucks him in with his favorite aria softly playing in the background. And there are those times of confusion when TERRI must set mouse traps in the attic because Uncle James wants no mice in the house, but then is chastised by his uncle when he takes the mice out to the woods where he lays them as food for a hawk with whom he has established a “connection.” The boy in TERRI always seems to get buried under both hiss size and the need for him to be an adult so much of the time. But thanks to Mr. Fitzgerald, Chad and Heather, the boy is not completely lost.
Jacob Wysocki makes his feature debut as TERRI. Described by co-star John C. Reilly as being great at improvisation and having a “wonderful innocence about him”, Wysocki is already a familiar face to many from the sitcom “Huge” and also his days of stand up comedy. But on the big screen, Wysocki is a breath of fresh air. Carrying the film together with Reilly, Wysocki is beyond likeable with an endearing quirkiness. Bringing a quiet reserve to the story and character through a nuanced, dry, non-emotive delivery, punctuated with facial and physical nuance, Wysocki walks the tightrope of sweet comedy. “Everything that I use in acting is from the fundamentals and philosophies that make good improv. It’s all just about listening and give and take. I think that same groundwork is what made it so fluid.”
And John C. Reilly. What can I say but, another great role, another great performance, and one for which he can thank his wife who brought the story to him. Filled with embarrassed emotion and humor, Reilly attributes much of his performance not only to Wysocki’s abilities as a sparring partner, but to influences from his own high school counselor, Mr. Fitzsimmons, and Reilly’s own appreciation for young people. “I’ve always related to younger people throughout my life, even when I was younger myself. I think younger people are really appreciative when you treat them like human beings. That, and the journey of the character was very interesting to me; the fact that he starts off as this sort of official, very formal person and then you basically watch him crumble before your eyes until you realize…he’s honest”. Reilly is the glue that holds the film together. And his chemistry with Wysocki – – – I could watch these two go head-to-head all day long; their chemistry is that strong. According to Reilly, all of the kids in the cast, Wysocki, Zadina and Crocicchia, “gave me a lot of enthusiasm. . .That sense of optimism and enthusiasm and fresh eyes is contagious. It’s much more interesting to be with younger people or less experienced people who just notice different stuff.”
The supporting cast is equally accomplished, adding a great dynamic that lends new levels of authenticity and believability to the story. Bridger Zadina, also in his first feature, is a standout as Chad. He went so far as to actually have his hair chopped and cut and then pulled it out, keeping completely in character. Olivia Crocicchia walks a double edged sword as Heather; on the one side, cocky and arrogant but on the other, a fragile scared little girl. Very beautifully done. And then we have the incomparable Creed Bratton. A role unlike any in which we have previously seen Bratton, as Uncle James he delivers a great balance between living and being alive and disappearing into the rigors of Alzheimer’s. A difficult role, Bratton attributes his performance to the fact that “I do my work. I jump in there and go for it. I had two relatives who had Alzheimer’s, so I used that for the dementia part [of the character].” The result is very touching.
Written by Patrick de Witt, there is a truth, honesty and simplicity in the characters and the story. Everything flows organically. Nothing is forced or contrived. The story never “sells out” and retains a thoughtfulness as it progresses and each character grows. As a director, Azazel Jacobs keeps his eye on the ball, focusing on the relationship between TERRI and Mr. Fitzgerald. Key to the storytelling is that Jacobs and de Witt keep TERRI sympathetic and never make him the object of ridicule or self-deprecation.
Wysocki’s background in improvision and Reilly’s own experience with improv in film gave them a common ground, however, according to John C. Reilly, “we didn’t really improvise.” However, for Wysocki “it gave us an availability with each other” and for Reilly, “a sense of play and sense of give and take.” For Wysocki, sticking to the script was also key. “Staying true to the script was the right way to go.”
Shot on film as opposed to going digital, the result is beautiful and really lends itself to the story. Cinematographer Tobias Datum gives the film a grainy warmth and softness but really strikes a chord when it comes to Uncle James’ house which, although warm, is dimly lit with only one or two open windows, analogous to Uncle James himself. For Jacobs, “I enjoy having the limitations that film gives you. I like having to get things correct within a certain amount of time.” Here, the films which Jacobs looked to for inspiration in terms of tone, including the classic “Being There”, were all done on film and “I wanted this movie to exist alongside those.”
Known for being “very hesitant to spell things out with the music” in his films, Jacobs never wants to have the music “push in either direction too strongly.” “It’s a good way for me to express internal situations that are going on in front of our eyes but at the same time I don’t want it to be passing judgment.” Thus he called on, for a third time, composer Mandy Hoffman. Quite impressive here is Hoffman’s nuanced multi-instrumental score.
Touching the heart and warming the soul, TERRI is a soft-spoken story of hope and joy that makes the ordinary extraordinary.
Terri – Jacob Wysocki
Mr. Fitzgerald – John C. Reilly
Uncle James – Creed Bratton
Chad – Bridger Zadina
Heather – Olivia Crocicchia
Directed by Azazel Jacobs. Written by Patrick de Witt.
