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Richard Farnsworth as Alvin – The Straight Story (1999) – IMDb

Alvin Straight : There’s no one knows your life better than a brother that’s near your age. He knows who you are and what you are better than anyone on earth.

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Source: www.imdb.com

Date Published: 8/3/2022

Film / The Straight Story – TV Tropes

The Straight Story is a 1999 film from Walt Disney Pictures and directed by Dav Lynch, starring Richard Farnsworth in the eponymous role along with Sissy …

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Source: tvtropes.org

Date Published: 3/28/2021

Famous quotes of The Straight Story

Famous The Straight Story Quotes · I’d give each one of ’em a stick and, one for each one of ’em, then I’d say, ‘You break that. · What’s the number for 911?

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Source: www.merelyrics.com

Date Published: 7/9/2022

The Straight Story – Movie Quotes

The Straight Story movie quotes. … An old man makes a long journey by lawnmower to mend his relationship with an ill brother. Add a Quote.

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Date Published: 7/25/2022

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Author: Fritz Engstrom
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Date Published: 2018. 11. 19.
Video Url link: https://www.youtube.com/watch?v=ytCT-6hCrKI

Is The Straight Story a true story?

“The Straight Story” is a G-rated Disney release based on a true story about a man riding his lawnmower from Iowa to Wisconsin to visit his sick brother. It was filmed in chronological order, following Alvin Straight’s actual route.

What is the theme of The Straight Story?

The themes of mortality, survival, and absence gain further weight in the face of the knowledge that this was the first film, with the exception of The Elephant Man, that Lynch was forced to make without Jack Nance, the unforgettable Henry Spence of Eraserhead (1977) – shots of the starry sky in this film are eerily …

How long is The Straight Story?

Where was The Straight Story filmed?

Laurens, Iowa is the community where the movie The Straight Story was filmed in 1998. The streets, roads, and home where the picture was filmed are here for you to visit and enjoy.

Is Richard Farnsworth still alive?

Was Alvin Straight a real person?

Alvin Boone Straight (October 17, 1920 – November 9, 1996) was an American man who became notable for traveling 240 miles (390 km) on a riding lawn mower from Laurens, Iowa to Blue River, Wisconsin to visit his ailing brother. He inspired the 1999 film The Straight Story.

When did The Straight Story take place?

It is based on the true story of Alvin Straight’s 1994 journey across Iowa and Wisconsin on a lawn mower. Alvin (Richard Farnsworth) is an elderly World War II veteran who lives with his daughter Rose (Sissy Spacek), a kind woman with an intellectual disability.

Is The Straight Story on Netflix?

Rent The Straight Story (1999) on DVD and Blu-ray – DVD Netflix.

How far did Alvin Straight travel?

Alvin Straight, who is 73 and too blind to get a driver’s license, recently drove 240 miles on his lawn mower from northwestern Iowa to southwestern Wisconsin to visit his ailing 80-year-old brother, Henry.

Why is The Straight Story rated G?

Parents need to know that this movie has no four-letter words or nudity, and there is nothing in the movie that is likely to cause offense or trauma. Still, it is not for most younger kids, who will be bored and restless.

Who wrote The Straight Story?

The Straight Story/Screenplay

Is The Straight Story on Disney plus?

Currently you are able to watch “The Straight Story” streaming on Disney Plus.

What films was Sissy Spacek in?

Sissy Spacek/Appears in

The Straight Story Quotes, Movie quotes – Movie Quotes .com

“The Straight Story” quotes (1999)

Plot – Alvin Straight is 73-years-old and lives with his daughter Rose in Laurens, a small town in Iowa. Alvin isn’t good but he refuses examinations and medicines. As he learns his brother Lyle has had a heart attack, Alvin wants to visit him as they haven’t seen for ten years. The old man doesn’t have a driving licence and chooses to drive an old lawn mower heading to Zion, in Wisconsin. After five weeks, the lawn mower stops due to mechanical problems and Alvin is helped by a local family. When finally he arrives to Zion, he reaches Lyle’s house. The two old men look at each other without saying a word. They just look at the sky and at the stars together.

Getting to the Heart of America in David Lynch’s The Straight Story

Somehow, and thank goodness, Straight’s interstate mower trip clicked with Lynch’s longtime producer and editor Mary Sweeney in the mid-’90s, who knew Lynch was right for the material. Sweeney was so committed to getting the movie made that even though the rights were spoken for, she waited four years for them to become available again. Sweeney then produced “The Straight Story” and co-wrote the script, thinking it would appeal to the emotional side that Lynch displayed in 1980’s “The Elephant Man.” “David’s films connect with audiences through his characters’ struggles with darkness and confusion,” Sweeney told The Telegraph in 2017. “A less obvious, but very powerful dimension of that struggle, is a hunger for love and dignity.”

These are the elements that align “The Straight Story” with the rest of Lynch’s artistic output. Like many of the director’s other films, the journey of Richard Farnsworth’s Alvin Straight, a 73-year-old World War II veteran, and those of the people he meets, address that same struggle of darkness and confusion, and the desire for dignity. It looks at the secrets and life details that define us, but aren’t often discussed. That deeply empathetic narrative approach in turn makes “The Straight Story” a great film for our current moment, as we try in the wake of great division to understand each other again.

In Lynch projects like “Blue Velvet,” “Wild at Heart,” “Twin Peaks” or “Twin Peaks: Fire Walk with Me,” the director’s close witness and interest in inner struggle reveals deep brokenness, usually in some form of trauma or evil (either human or supernatural). In a way, this also permeates “The Straight Story.” The brokenness here isn’t salacious or strange—much of what we learn is downright ordinary—but it is frequently sad. Lynch, Sweeney, and her co-writer John Roach use a familiar lens to make us think about how specific life experiences create the people we see every day.

The Straight Story – Senses of Cinema

The Straight Story (1999 USA/France/UK 111 mins)

Prod Co: Asymmetrical Productions/Canal +/Channel Four Films/CiBy 2000/Les Films Alain Sarde/The Picture Factory/The Straight Story Inc./Walt Disney Pictures Prod: Neil Edelstein, Mary Sweeney Dir, Sound Des: David Lynch Scr: John Roach, Mary Sweeney

Cast: Richard Farnsworth, Sissy Spacek, Jane Galloway Heitz, Joseph A. Carpenter, Donald Wiegert, Tracey Maloney

David Lynch has made a career of projecting the twisted and dark underbelly of the otherwise sugarcoated exterior of American life onto our movie screens. When released in 1999, The Straight Story was widely received as a film that departed from the director’s previous work. One should begin a discussion of the film by noting that The Straight Story refers to two things. First, this is the adaptation of a true story – much in the spirit of Lynch’s The Elephant Man (1980), but different. It is the story of Alvin Straight (Richard Farnsworth), a 73-year-old man who, upon receiving the news of his brother’s stroke, whom he has not spoken to in ten years, travels more than 300 miles on a ride-on lawnmower from Iowa to Wisconsin. Second, given that it comes after films like Blue Velvet (1986), Twin Peaks: Fire Walk With Me (1992), and Lost Highway (1997), the literal “straightness” of this story, both chronologically and thematically speaking, is remarkable – almost as remarkable as the fact that Lynch worked with Disney to produce this film. The script was co-written by Mary Sweeney, Lynch’s wife, who also acted as co-producer and editor of the film (Sweeney also edited and co-produced Lost Highway and Mulholland Dr. (2001)).

The Straight Story is perhaps the most melancholic of Lynch’s films. It is a narrative about ageing and facing the spectre of death: Alvin’s brother Lyle (Harry Dean Stanton) has had a stroke, and Alvin himself has been warned by his doctor of his deteriorating health. Moreover, due to his also deteriorating vision, he can no longer carry a driver’s license, hence the choice of the ride-on lawnmower as a mode of transport. Loss is etched everywhere on the landscape of the film. Alvin lives with his speech-impaired daughter Rose (Sissy Spacek) who tragically, and by Alvin’s account, unfairly, lost her children to Child Protective Services due to the erroneous assumption that she was also mentally ill (the ugly underbelly of American life is still tangibly felt in this film). One of the most haunting images in The Straight Story, cued by Rose staring out into the night from behind a kitchen window, is of a blue ball that rolls into frame out of the darkness of the screen, shortly followed by a boy, who picks it up only to disappear, again off-frame. It is as if everything one longs for in the past, be it youth, loved ones, or missed opportunities, exists just out of frame for the film’s characters, in a place that is unreachable, yet still palpable.

One of the film’s more touching scenes occurs when Alvin and a fellow World War II veteran swap combat stories. This is the first time that Alvin shares a secret we sense he has never shared before, of having once tragically shot one of his own buddies on the field of battle. A recovering alcoholic, Alvin exorcises this demon over a glass of milk – a subtle Lynchian touch. Alvin eloquently sums up the tragedy of getting old: “All my buddies’ faces are still young. And the thing is, the more years I have, the more they’ve lost.” Alvin is a man of many secrets and a dark past, something that remains interred throughout the duration of the film. The themes of mortality, survival, and absence gain further weight in the face of the knowledge that this was the first film, with the exception of The Elephant Man, that Lynch was forced to make without Jack Nance, the unforgettable Henry Spence of Eraserhead (1977) – shots of the starry sky in this film are eerily reminiscent of those in Eraserhead. Nance was found dead in his home on December 30, 1996, prior to the release of Lost Highway, the last film he ever made. Adding to this cloud of tragedy, Richard Farnsworth died shortly after the release of The Straight Story, taking his own life after a struggle with bone cancer.

This film, then, made at a time when the World War II generation had literally arrived at death’s doorstep, properly mourns pieces of American life that are about to be lost. The post-World War II era has seen the rise of America as a global power, and American culture now permeates the globe. But this film offers up an essence of America that is not global in nature, and thus becomes a quiet elegy for a particular brand of Americana that has always been a prototypically Lynchian subject. Thus, Lynch’s sometimes lingering, sometimes sweeping aerial shots over American farmlands can only be read as a mournful view, already calling this landscape forth into an Elysian elsewhere. The small, mid-Western town is where Lynch often locates his narratives as well as all those endearing American peculiarities that his idiosyncratic eye for detail excavates. Significantly, these are the spaces and ways of life being threatened by extinction – think of, as a connected example, the forests of Lumberton U.S.A., the setting for Blue Velvet.

True to his penchant for presenting us with worlds where the familiar is made new, or where the normal is defamiliarised, Lynch plunges us into a land where people know their mowers intimately; “My Edward loved his riding mower”, says an old lady on the senior tour-bus that rescues Alvin from his first failed attempt at hitting the road. Lynch has always offered his own peculiar twist to genres like film noir and melodrama. Here he perhaps does the same for the road movie – a genre permeated by the recklessness of youth, and the promise of unbound freedom. Alvin has the luxury of neither, nor does the actor who plays him. Among the pieces of Americana this film inscribes is Farnsworth himself, who began his career as a stuntman, predominantly in Westerns. For ten years of his early career, Farnsworth was the exclusive stunt double/stand-in for Roy Rogers (as well as for others). Thus, the shots of the feeble Alvin/Farnsworth, as he is forced to move around with the aid of two canes, once again call attention to the unforgiving onslaught of time.

Confessing that he was a sniper in the Army, Alvin describes to a fellow World War II veteran over that same glass of milk, “I’d sit forever. It’s an amazing thing what you can see when you sit.” At many levels, the aesthetic choices Lynch has made for this film respond to this very logic. Alvin must ride a lawnmower to Wisconsin because his vision is not good – yet the entire visual apparatus of the film aligns itself with his journey. Lynch thus takes the opportunity to slow everything down. “Sitting” is in this case the film’s metaphor for becoming observant – of watching one’s experience of space change as the vector of speed is slowed down. And just as we begin to get lulled into the mower’s slow crawl, there are reminders of that faster world outside: at some point a huge group of cyclists buzz by Alvin, looking like creatures from outer space in that context. Alvin’s gaze (a panning point-of-view shot gives us access to it here) can barely make out the faces of the figures that zip by. A more tragic example of this aspect is that of the woman who runs over a deer in her car (“at least once a week”, she screams) as she speeds through her necessary 40-mile commute back-and-forth from home to work (is this a meditation on the violence required by everyday life?). The woman, exasperated, looks distraught into what appears to be a barren and empty landscape lamenting: “Where do they come from?” But she does not “sit” around long enough to figure it out, hops into her car and proceeds to yet again speed away.

The distance between two points is not variable, only the time it takes to traverse that distance. Our expectation that the character will reach his destination is the only thing that propels the narrative forward. So one cannot but take notice of things that have always been present in Lynch’s films, and which are the first casualties when one attempts a linear recounting of their stories: the small, character-driven vignettes (surreally ethnographic) that do little to advance the plot (the exchange between Rose and the woman at the grocery check-out counter, the jostle at the hardware store over the “grabber”, and so on). Lynch’s quirky style and sense of humour have always resided in his melancholic attention to idiosyncratic detail. Yet, for as much as he is able to lean toward an excess of expression, he can be phenomenally restrained. This is as much a slow film as it is a silent one. Although the film’s critics have often noted Alvin’s penchant for dishing out folksy advice, he nevertheless shares surprisingly little about himself. A key point of this film, therefore, is also about how imperfect words are in their capacity to connect people. Take, for example, the above-mentioned exchange between Rose and the clerk:
[Close-up of plastic wrapped sausages at the checkout counter]
Clerk: Havin’ a Party?

Rose: Oh, geez, I love… parties.

Clerk: Oh, me too.

Rose: And so… where’s it at?

Clerk: Where’s what at?

Rose: Your party.

Clerk: [confused] I’m not having a party. I thought you were having a party?

Rose: I am?

Clerk: Well, yeah [back to the close-up shot of the sausages], look at all that braunschweiger…

The conversation continues briefly, with both characters continuing to just barely meet and miss each other’s meaning, before Rose finally mentions disliking braunschweigers and makes a face of disgust. The clerk agrees and returns the same look of disgust. This wordless moment is in fact the only point of meeting between the two.

As we are told, words are the source of the rift between Alvin and Lyle as well. After being on the road for weeks, Alvin finally arrives at Lyle’s. The ultimate exchange between the two is a study in understatement, played brilliantly by both actors. Lyle merely looks at the ride-on mower sitting outside his ramshackle house, and asks: “You ride that thing all the way to see me?” Alvin answers, “I did Lyle”. The 1966 John Deere mower has the final word – telling yet another story we do not hear, but we may assume has the power to heal. As the camera pans up, we are left with only a shot of the sky and the memory of Alvin’s boyhood reminiscence of staring up with Lyle into the star-filled sky: an image of both fullness and emptiness, depending on how one looks at it.

Straight Story Building – Discover Pocahontas County

Laurens, Iowa is the community where the movie The Straight Story was filmed in 1998. The streets, roads, and home where the picture was filmed are here for you to visit and enjoy. See where Richard Farnsworth and Sissy Spacek re-enacted Alvin Straight’s trip on a lawn mower to visit his ill brother in Wisconsin. Come tour the Laurens community, and sit on the actual lawn mower that Alvin Straight drove on his odyssey. Let your journey begin in Laurens.

The Straight Story (1999) quotes

Alvin Straight: There’s no-one knows your life better than a brother that’s near your age. He knows who you are and what you are better than anyone on earth. My brother and I said some unforgivable things the last time we met, but, I’m trying to put that behind me… and this trip is a hard swallow of my pride. I just hope I’m not too late… a brother’s a brother.