Hal Hartley was born on November 3, 1959, in Lindenhurst, Long Island, New York. At the age of 11, he lost his mother and was raised by his father, who was a prominent ironworker (Berrettini, pg.17). During his early years, Hartley developed an interest in painting and graduated from high school in 1977. He then went to Massachusetts College of Art and discovered a passion for filmmaking. In 1980, he attended the State University of New York at Purchase and graduated in 1984 (Berrettini, pg.17). While studying, Hartley met Michael Spiller, who later became his cinematographer, and several other people who helped him produce his feature films. These contacts include Jerome Brownstein, with whom he continued to work after graduation. Brownstein also became one of Hartley's producers.

First Steps in the Film Industry

After graduating from SUNY Purchase, Hartley began working for Jerome Brownstein's Action Productions, a company specializing in commercials and public service announcements (Berrettini, pg. 17). Some of his lifelong collaborators, including Ted Hope, Steven Rosenzweig, and Steve Hamilton, were not present during Hartley's college years but came later. Mad Judy Productions' Hamilton, Hartley, and Brownstein collaborated to launch Spin Cycle Post, a post-production studio in 1992 (Berrettini, pg.19).

Unique Features of Hartley's Films

Hal Hartley's films are distinctive and fascinating because he approaches filmmaking and viewing from a rare perspective. In his New York Times interview with Peter De Jonge, Hartley mentioned that he wanted his viewers to enjoy his films, but not in a traditional way (Jonge, The Jean-Luc Godard of Long Island). Mainstream films make everything available to the audience so that they do not have to work hard to understand the movie's world. However, Hartley's viewpoint about the audience's experience when watching his movies reveals much about his film-making style; his films demand work - and reward the labor with satisfaction. In my experience, working for enjoyment feels better than merely seeing something that is apparent. Additionally, Hartley views his films as a two-way street where audiences profit from watching the film, gaining meaning, pleasure, or any emotional experience expressed therein. Simultaneously, audiences also contribute meaning to the film in their own way, co-creating it with the director. In Berrettini's article, it is written that "his films address us [the viewers] as cocreators of meaning," revealing Hartley's intention to urge the audience to see beyond what is shown explicitly in his films. Therefore, one of the most important characteristics of Hartley's films is co-creation.

The Unbelievable Truth (1989)

Michael Allen's book, "Contemporary US Cinema," describes various aspects of film production to develop a definition of independent cinema. This definition includes methods of financing, the presence or absence of well-known names, and the filmmaker's personal vision (Allen, Contemporary US Cinema pg. 139-140). Hartley's success as an independent filmmaker is evident in his early projects. Even though he has received more funds and financing for his films over the years, I still consider him an indie director because of his unique style.

In this scene from The Unbelievable Truth, we see Audry (played by Adrienne Shelly) and Josh (played by Robert Burke) having a conversation in Audry's father's mechanic shop. The shot is a mid-shot, showing the two characters from the waist up. The scene begins with Audry riding her bike into the shop off-screen and approaching Josh to strike up a conversation. She hands him a book about George Washington, who is a recurring figure in the film, and they discuss The Misanthrope by Molière. The conversation takes a turn when Audry explains her role in a play at her school, and the audience or "cocreator" can interpret it as an innuendo for her feelings towards Josh.

Despite being made on a limited budget, The Unbelievable Truth looks and feels like a professionally-made film, while also staying true to its indie roots. The movie features fast-paced dialogue, niche themes, and a specific brand of comedy that may not appeal to everyone, but is well-written, produced, directed, and edited. Even though I was surprised to enjoy the film upon first viewing, it still resonates with me.

Sources:

Berrettini, Mark L. Hal Hartley. University of Illinois Press, 2011.

Jonge, Peter De. “The Jean-Luc Godard of Long Island.” The New York Times, The New York Times, 4 Aug. 1996.

Allen, Michael. Contemporary US Cinema. Routledge, 2002.

Hartley, Hal, director. The Unbelievable Truth. Miramax Films, 1990.

Dale, Austin. “Metrograph Edition.” Metrograph.