The catalyst for Glover's best work here is the talented and adorable newcomer Weizenbaum, a marvelous discovery in whom Dockterman can take great pride, especially since the actress had only been in a few stage productions prior to this film (it was made before Geisha.) Her portrayal of the abandoned girl, Lenny, is funny, touching, and as broad or subtle as the scene requires. (In the commentary Dockterman points out several inspired moments the actress improvised.) The onscreen chemistry between her and Glover is irresistibly heartwarming.
Yes, we've seen this kind of thing before, but in Dockterman's hands - abetted by Sheldon Mirowitz's mercifully tasteful score - we get our catharsis without feeling overly manipulated, even after a shocking plot twist. And we also learn something about a subculture I, for one, had no idea existed. What I didn't like was the set-up. Strathairn is a fine actor and has some very touching moments as the little girl's doting father, but the way his character arrives, reconnects with Neely, and sets the story in motion feels contrived. It's not until he takes off, leaving the two main characters to get acquainted, odd-couple style, that the movie comes to life.
Another, smaller flaw is an out-of-character display by Lenny, during a scene with Hamilton's character, of a seemingly supernatural level of empathy. It relates to an alternate ending that was wisely left for the Special Features section.
The Special Features also include a few deleted scenes and the very detailed and enlightening director's commentary. The short piece about the Vietnam War Memorial in Washington, D.C. is also worth watching.
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