Every so often, a movie comes along that reminds us that its simplicity which keeps our lives in balance.  People often get so caught up in the hustle and bustle of the capitalistic madness and rat race that we barely stop and realize what is truly important, and what truly matters.  Sam Dawson has figured that out, and we are the lucky viewers who get to share in his Beatles based philosophies on life, love, child rearing and the simple art of touching the human side of the viewers hearts and souls without even trying.  I Am Sam is a by the numbers sap fest that never quite goes over the top in sentiment, and does stumble a bit in reaching its conclusion, but succeeds in generating empathy, sympathy, and genuine human emotions without ever drowning us in any of them.

The movie opens with one of the most touching sequences that I’ve seen on film in a long while.  We are shown Sam, a Starbucks employee who has the mental capacity of a 7-year old, but, and about to be a father.  Unfortunately, the mother is less than ready to be one, and abandons Sam at a bus stop, leaving him to raise his daughter, Lucy (whom he named after the Beatles song) We are taken through his unconventional methods of raising Lucy (including using a hammock as a crib, and logo buttons as safety pins) up until she reaches the age of 7 where the story begins.  Sam has enlisted the help of his friends (an eclectic group of mentally challenged men including a paranoid, and another who quotes useless facts ad nauseum), and a kindly, but slightly agoraphobic neighbor (Dianne Wiest) to assist him. A series of circumstances result in a social worker (Loretta Devine) taking Lucy from him, sending him into a battle for custody to prove he can be a good parent.  He happens to come across a stressed out attorney (Michelle Pfeiffer) who is not known for her compassion or generosity, and to prove something to her colleagues, she takes Sam’s case.  Needless to say, we learn that her life isn’t as good and perfect as initial appearances would show.  A crumbling marriage and a distant relationship with her son are just a few of the conflicts going on in her life, which will obviously be dealt with as the relationship between she and Sam grows.  The story obviously creates these contradictions in characters to make the point of those who seemingly have nothing, may have more than they realize, and those who seemingly have it all, may actually not.  This is balanced fairly well, with the obligatory few overdone scenes of realization and redemption, but we are never hammered over the head with them. The only minute flaw is one that befalls many directors when navigating territory previously done, or logically progressed.   The movie comes to a seemingly resolute conclusion, but continues on, as if there were more points to be told (which there actually are).  It is in the transition to this finality, that the movie hits rocky stages, and almost careens into a maudlin mush fest.  But in retrospect, these scenes set up, and give the movie its powerful conclusion. This easily could have turned into a tear jerking emotion fest, but the delicate balance of situations and delivery, combined with the strength of the performances, gives the message just the right emotional power that it needs to succeed.

What can I say about Penn’s performance that would do it justice, besides, just see it.  He takes a role that could have been overdone and brings the right dose of reality to it, by never going over the top, or to an excess, but showing the class and restraint to make this character uniquely his. He nails the characters eccentricities, yet realistically progresses and learns as someone with this disability would, making him seem more like a real person, and less like an actor playing or imitating. He is complimented, yet contrasted by Pfeiffer, who gives what may be her best performance since Dangerous Liaisons.  She shows the many facets of her character with the consistency that makes her go virtually unnoticed throughout most of her movies, until you realize that you are so into believing that she is her character, that you forget she’s actually just a performer.  In her usual compassionate, yet troubled manner, Wiest again shows why any movie she is in, is worth watching solely for her presence.  And lest I forget the refreshing debut performance, and presence of young Dakota Fanning as Lucy.  Aside from being just adorable beyond words, she has a surprisingly expressive demeanor and the timing of a proven veteran, combined with her obvious childish innocence showing she is more than just another pretty face.  Together, each performance gives this picture the near complete puzzle, and with a smoother ending, could have been one that would have everyone buzzing.

I would be remiss, if I did not mention this movies soundtrack, which is another of its high points.  Few in the know, doubt the depth and psychological relevance of the music of the Beatles, but Nelson has utilized this facet of the character not only to weave relevant references throughout the film (the movies unofficial theme of course being “All You Need is Love”) but also to compile remakes of Beatles songs, and sprinkle them as fitting background music to situations.  Artists ranging from The Black Crowes, to alt rocker Heather Nova, to Penn’s brother Michael (with Aimee Mann) contribute to the success of the sounds elicited by the situations and moments presented.

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