Michael Neumann Two orphaned sisters growing up in a small Northwest mountain town in the 1950s drift apart when the eccentric habits of their itinerant guardian aunt (Christine Lahti) push one to the shelter of social conformity and draw the other outside, to an uncertain but more exciting life apart. The film was sold as another of Bill Forsythe's whimsical comedies, but the humor is overshadowed by the lingering memory of loss and dissatisfaction: a grandfather's tragic death, a mother's lonely suicide, and so forth. Likewise there isn't anything funny about Aunt Sylvie's deeply rooted vagabond instincts (expressed, for once, as something more than merely charming or quaint), which attract the more introverted sister (narrating the details) as strongly as they repel the rest of the community. It's a haunting, almost melancholy film, carefully paced to the rhythms of small town life in hard times, and with a fascinating undercurrent (note the irony of the title) equating the freedom of the open road with the liberation of women from domestic dependency. The final image, after Sylvie has introduced her niece to a life of wanderlust, is enough to lure the hobo out of any viewer.

ksherwoodf A work of Great Genius, this coming of age film is beautiful, haunting, darkly comic. I love Local Hero but I think this is Bill Forsyth's masterpiece so far. It is about conformity, parenting, coming of age, making choices, madness, creativity, adulthood, tragedies that every family endures, riding on trains, family traits and how they are passed down,living in a small town, life, death, boy scouts doing their good deed for the day, the many uses of newsprint ... the list goes on and on. In short, it is about everything and works at many levels, as a Great Film should. And this is a Truly Great Film, high on my top ten list of favorite films of all time. It is perfectly written, directed and filmed by Bill Forsyth of Scotland, and it includes a great performance by Christine Lahti and also by the supporting cast (esp. those who play her nieces). There is not a bad note in this film, it is a perfect film in every way, to my eye.I understand why some commentators give this film a low rating -- they came looking for a comedy, or for the light melancholia of Local Hero (also a wonderful movie and one of my favorites). Housekeeping is dark melancholia, but it is also deeper and richer of a brew -- kind of Bergman with a sense of humor, in its vibe (though not its plot) it reminds me of another coming of age film, To Kill a Mockingbird, and it is of that film's high caliber.This film is woefully under-appreciated in the U.S., I hope it is released on DVD soon. It deserves another chance to be recognized for what it is -- one of the greatest films of a generation. And I so hope that Bill Forsyth, still relatively young in his early sixties, gets back to writing and directing. His films are wonderful but too few. I really want to -- NEED to -- hear more from Mr. Forsyth, I feel his absence deeply, it is as if Yo-Yo Ma or Heifitz put away their fiddles after a few great concerts, and played no more. Please come back, Mr. Forsyth!

David Watson This is a film of a rare, intimate perception that is aimed with pinpoint precision at a few unusual characters and the places they inhabit. At first its subjects seem simple, but like many people do, these characters are merely shielding themselves, hesitant to reveal much of their real natures except as as rare gifts in intimate moments. It must have been tremendously challenging to create and portray natural introverts like these characters, but as an introvert myself (I assert that characteristic without any touch of self-disparagement), I found this story rewardingly resonant of my own experience, especially of childhood memories, although indeed my outward circumstances had little in common with this story.Almost never has any film conveyed a sense and feeling of a few small places so clearly and so effortlessly. We cherished the village in "Local Hero", but Fingerbone is an incomparably more realistic and deftly drawn place (despite occasional overreaching, e.g., the town's name, and a train accident that stretches credulity in more than one way).For anyone willing to watch, dusk and the blue pre-dawn illuminate and suffuse these characters' lives. Sylvie sits by herself in the "dark", but there are wonderful secrets to discover in places that seem a void to others. Even well-meaning intrusions, like interruptions to meditation, can seem tragic.Even more distinctly than Forsyth's other work, this film certainly wouldn't appeal to everyone, but it is a beautiful and evocative character study that has the courage to deal with personalities, events and emotions too obscure or inaccessible for most mainstream filmmakers. Forsyth deserves credit for having gotten this made in the first place, as well as for the eclectic perception that gave the film its many unique and worthwhile qualities.

adam1117 Though the box (identifying it as "A tidy comedy") is one of the most flagrant cases of false advertising ever, this is a wonderful movie. Set a bit after 1960 (you can tell because the song the mother sings in the ten-years-before opening was a hit in 1950) in a small town that hasn't caught up with the rest of the world yet, it shows a woman who isn't so much a free spirit as a person who just can't settle into basic routine. Mentally ill? Maybe, maybe not. But, if so, it's a pretty swell madness. Beautifully shot, wonderfully acted. Haunting is an excellent word. Just don't get it expecting a tidy comedy, whatever you do.