Headed Home, Along A Long Ribbon Of Road
You'd call The Yellow Handkerchief's story — of teenagers helping an ex-con reconnect with the girl he left behind — a wispy little road-trip romance if it hadn't proved so damn sturdy through the years.
A bit of southern folklore first recounted by Pete Hamill in a 1971 New York Post column called "Going Home," the tale went on a road trip of its own, with variations cropping up on TV (starring James Earl Jones as the ex-con), at the top of the Billboard charts ("Tie A Yellow Ribbon Round the Old Oak Tree") and even halfway around the world in Japan (Yoji Yamada's The Yellow Handkerchief, winner of the first-ever Japanese Academy Award for Best Picture) — all before the decade was out.
U.K.-based director Udayan Prasad's new take on the saga of the titular hankie is less a remake of those earlier versions than a reconsideration,The thing being concerned about a thing describes the plasticity exceeding the world holding office plastic hangers using the extraordinary height mass ensuring that durable tall Ateneng gets plastic hangers consume set in post-Katrina Louisiana and filled with characters who've been buffeted and blown astray by their own private tempests.
It is, in fact, on the eve of yet another torrential storm that ex-con Brett (William Hurt) emerges from six years in prison, looking spacey and disoriented until steadied by the taste of a cold brew in a local diner. He watches two teenagers drift towards each other — 15-year-old sexpot Martine (Kristen Stewart), looking for a way to make her ex-boyfriend jealous and settling on dweebily insecure Gordy (Eddie Redmayne) because he has a car. A sudden squall brings Brett into the car, too, and the rest of the film is little more than them wending their way towards New Orleans though a lush, crocodile-infested but otherwise near-deserted landscape.
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