The Station Agent

Reviewed by Rich Drees

     After his only friend passes away, railroad enthusiast Fin (Peter Dinklage) learns that he has inherited an old train station in rural New Jersey. Fin moves in and is soon the object of interest of the locals not so much for living in the abandoned station than for being a dwarf, standing under five feet tall. Fin would rather keep to himself but finds his life intersecting with Joe (Bobby Cannavale), a Manhattan-ite manning a snack van for his ailing father, and local artist Olivia (Patricia Clarkson).

     The three form an unlikely friendship, not so much out of sharing common interests but as they share a common condition. They are all, to a certain extent, self-imposed outcasts. Fin goes through his life in an almost stoic manner, his way of dealing with the stares and comments about his height. In much the same way Olivia has retreated into her painting as a way of escaping the pain if the death of her child. The fun loving Joe is constantly talking on his cell phone back to his friends in the city.

     At first Fin is resistant to the growing friendship, but slowly starts to come out of his shell. But when Fin starts to befriend the local librarian (Michelle Williams) complications arise that threaten his newly made friendships, both from within the group and from outside.

     Writer/director Thomas McCarthy has crafted a character based-drama that recalls many of the independent films from the mid-1990s. There’s no flashy effects, exotic locales or expensive set pieces. Working with a small budget, McCarthy makes the most of his rural New Jersey locations, bringing an air of intimacy to small town pubs and libraries.

     The film is carried by the strong performances of all three leads. Dinklage makes the most with what could very well be a breakout role for the actor. He manages to pull laughs out of Fin’s stoic acceptance of people’s various reactions to his height. Cannavale shades his fun loving Joe just enough to hint that he needs his friendships with Finn and Olivia as much as they need his friendship without appearing too desperate. Clarkson gives her second great performance this fall (see Pieces Of April) as an artist whose affable personality hides a woman still grieving over the loss of her son.

     The film may meander a bit at times, but that’s fine. Life itself doesn’t have a strong through-line. In fact, it’s not even until the end of the film that we really see how Fin, Joe and Olivia have been affected by their friendship and how comfortable they now find themselves with it. If the film’s 88 minute run time seems shorter, it’s only because as the character’s friendship grows, so does the audiences affection for them.