Fraughtwithoverobvioussymbolism,Hartley'searlyfeatureisnonethelessajoytowatch.HalhereshowsushisuncannyabilitytocasthischaractersperfectlycameearlyinhiscareerAdrienneShelleyisanearperfectfoiltoherself,equalpartsannoyingteenburgeoninginhersexuality(thoughusingsexforseveralyears);obsessedwithdoomandinspiredbyidealismgonewrongsheisdeceptively–andsimultaneously–complexandsimple.HerAudreyinspiressomanylevelsofsymbolismitisalmostembarrassinglyrich(e.g.,hermodelingcareerbeginningwithphotosofherfoot–culminatingherdoingnude(butunseen)work;Manhattanmove;Europetrip;herstealing,thensleepingwiththemechanicswrench,etc.)AsJosh,RobertBurkegivesanabsolutelymasterfulperformance.Areformedprisoner/penitenthereturnstohishometowntofacedownpastdemons,accepthislotandbeginanewlife.Dressedinblack,andrepeatedlymistakenforapriest,hecorrectseveryone("I'mamechanic"),yetthesymbolismisrich:heabstainsfromalcohol,hepracticescelibacy(is,infactavirgin),andseeminglyhastakenonvowsofpoverty,andhumilityaswell.Thehumilityseemshardesttoswallowseeming,attimes,almostfalse,apretense.Yet,aswelearnmoreofJoshweseegenuinenessinhismodesty,thathishumilityisindeedearnestandbelievable.Whatseemsironicisthecharacterisfairlyforthrightinhissimplicity,yetsorichlydrawnitbecomestheviewerwhowantstomakehimoutasmorethanwhatheactuallyis.Afascinatinglywrittencharacter,perfectlyplayed.ThescenebetweenJoshandJane(awonderful,youngEdieFalco..."Youneedawomannotagirl")ishilarious...real.ButHartleycan'tleaveitassuchandhistrick,havingtheactorsrepeatthedialogueover-and-overbecomesfrustratingly"arty"andannoying...untilagainitbecomeshilarious.Whataterrificsenseofbizarrerealitythislendsthefilm(likekidsinaperpetual"amnot"/"aretoo"argument).Hartley'sweavesallofasmallneighborhood'sidiosyncrasiesintoatapestryofseemingstereotypesbutwhichdelvesfarbeneaththesurface,thecatalystbeingthateveryonebelievestheyknowwhatthe"unbelievabletruth"ofthetitleis,yetnotwopeoplecanagree(includingourhero)onwhatexactlythattruthis.Awonderfullittlemoviewithsomebigideas.
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