Each letter from Frankies absent father, a seafaring man, begins with the titular salutation, and their influence on the deaf 8-year-olds still-developing personality is deep. Frankie (McElhone) charts the course of his fathers ship on a map beside his bed, and his interests, including geography, marine life, and even vegetarianism (devoted to fish, Frankie refuses to eat them), are a direct result of these treasured letters. Jokes on him, then, that Frankies mother, Lizzie (Mortimer), made the guy up. The real dads been out of the picture for years; Lizzie invented the fake dad in order to fill a void in Frankies life. Eventually, Lizzie grew addicted to the intimate connection she forged, however misleadingly, with her son via these letters. Jokes on her, then, when fake dads ship docks in the harbor of their Scottish seaside town, and Lizzie is forced to produce a father posthaste. She strikes a deal with a stranger, who is known only as “the Man” (Butler, as good as can be in a role that is allegorical rather than of flesh and blood), to play Frankies dad for the duration of the ships furlough. Mortimer, McElhone, and Butler each bring sensitivity and likability to their roles, but theyve an uphill battle personifying characters who are, respectively, a clairvoyant, a fantasist, and a fantasy. It is the fantasist the terrifically damaged Lizzie who proves the pictures biggest sticking point. Dear Frankie hangs a good deal of its tension on her well-meaning but still tremendous deception, and its failure to adequately deal with the deception comes off like a cheat. Im all for ambiguity, but Dear Frankies multiple dangling threads indicate incoherent storytelling, not profundity. Perhaps if Auerbauch and scripter Andrea Gibb had not padded their overly precious, overly ponderous movie with so many desperate flailings for pathos, Dear Frankies small charms might have shown through. Jokes on them, then, that their attempts to forcibly warm the heart turn it to stone, instead.
This article appears in April 15 • 2005.
