Jack Goes Boating, the directorial debut of actor Philip Seymour Hoffman, is an oddball little NYC indie; almost aggressively quirky at the outset, it eventually grows on you. Most affecting is the sensitive portrayal of its off-kilter characters; they’re frequently presented in somewhat embarrassing situations that don’t become uncomfortable to watch, but instead further endear you to them as human beings.
Hoffman stars as the titular Jack, a timid, introspective man who drives limousines for his uncle. Jack isn’t so unfamiliar, but he isn’t quite “normal”; he lives alone, appears slightly disheveled, mutters to himself, always seems to be lost in his own thoughts.
In reality, where everyone is not a Hollywood stereotype, this is not strange; in movieland, it sends out some vague David Lynch vibes, and Hoffman, as both director and star, is well aware of this.
Jack’s friend Clyde (John Ortiz) also drives limos for Jack’s uncle. He, we might imagine, is Jack’s only friend. Clyde is not without his own problems, but seems more on the ball; he’s married, he takes business courses at night.
His wife Lucy (Daphne Rubin-Vega) sets Jack up with Connie (Amy Ryan), Lucy’s co-worker at a funeral home. Connie, we quickly find out, has a lot in common with Jack.
Jack Goes Boating showcases the progression of these four characters, and a contrast between the two very different relationship styles: Clyde and Lucy, who have been together for a number of years and dealt with some complicated issues, and Jack and Connie, who are just starting out and hope to avoid the kind of problems they see in their friends.
Despite the title, any boating only takes place at the very end; most of the action takes place during a blustery New York winter, with snow-covered streets, skullcaps, and rosy skin hues. Hoffman has a great eye for small detail, captured nicely by cinematographer W. Mott Hupfel III, who also shot the Hoffman-starring The Savages in similar conditions.
The film is based on a play by Robert Glaudini, produced by Hoffman and Ortiz on the stage. No surprises from a theatrical production directed by an actor: this is an actor’s showcase. What did surprise me here was that, despite Hoffman’s Jack being front and center for most of the film, Ortiz dominates the screen and provides the movie its heart and soul.
Mostly seen in crime dramas (American Gangster, Public Enemies, Miami Vice), I’ve taken note of Ortiz before but this is this first time I’ve seen him in such a fully fleshed-out, three-dimensional performance; in short, he’s excellent. Hoffman, Ryan, and Vega each turn in finely-tuned work as well.
Jack Goes Boating is more of a quirky comedy, but like Mike Leigh’s Another Year, it’s a rare film that truly cares about its characters, and gets you to care about them, too.
