Fra/u:*`^ght with/[ over obvious sy  mbolism%`, H[:;artl#;ey's@=( ? early feature is nonetheless a jo]:y to wat*ch. Hal =+ here shows us his%- unc`*anny ability-, to cas$
t %his ch=\;#aracters perfe_*ctly %, came early in?=- h
i:
s caree@r.　　A/!dr*.;/ienne +Shelley is a near perfect foil- to herself, equal ,parts annoyin.g` teen b=^#urg(;eo\n,ing in,(, h),e(^_r
*/`sexuali`-ty (though using sex for several ye%:, ars); o?/b =sessed with d@%oom \a;`.(nd = inspired by idealism
@!; gone w#],;r +ong she #:is deceptively
 –%  and simult; ane^ous:\ly _– co-($mplex and simple. ?Her Audre)+^y inspires s!-%;o m$[a ny (^[]levels of symbolis/(m it is almost emba,
$=rrassingl@y rich (e.g., h-,er mo,##deli=(-ng car*_)eer beginning wit+h p
hotos of her 
#foot @– culm.,inating h$(^]er d;oing `nude (b(:(ut@)[ unseen) wo=[(_`rk; Manhatt+?an move;  Eu[ro[pe trip; h]er *,
/stea ling, the?`n sl$((eepi
@ ng![) with t?@*he mechanics+ ^(wrench,,, etc.)　@+　As Josh,@; Ro(@bert Burke gives_ an ab:(solutely mas\`t@%erful performance. A r)^$eform .ed priso.nerpenitent he +@$r(%!et@ur^@
 ns to_
h-=\is home*! town to face down past demons, accept h=(is l\ot an/d beg in:? a new life. Dresse!%%d i _n bla,
;ck, and repeatedly mistaken for_ a + priest, he cor(rects every+one, (I'm a mechani]`c), `:yet the symbo:lism is ric#-h =h* e absta:]==ins#/ from alcohol, %he practices celibacy (is%*, in fact a `virg*[in), a(+nd s^)eem! i]
ngly has t.aken -.[o%%*n v; ow_`[s o\.)f poverty, and humility], as well. The humil@it:y seems hardest= )!to swallo:\;w seeming,$ *]at)$* times,+ =al m`[#ost false, a * p]%retense. Yet, -a-s [ %w,?\e?++ lear!n more !@of Jo*%sh] we see genuine?ne@s%%s 
in his :*m
odesty, that his hum=-ility is inde*ed e 
arnes=t and beli)evable.  What seem#)s ironic is the c:\#haracter is f,a*ir* :ly^-% forthright in*[ his simpl+=icity,!$ yet so=( rich_l(y drawn i:t becomes the v\`ie?.+wer who w.ant(s t!)o
m^)ake hi
.#@m
 out as m=-^ ore$@ than wh^(-?at he a,ctua+(l+?ly ! is. A ^=fasc-inatingly wri* tt; @en charac )=ter, perfect%]$ly) pl!a?y?+ed^..　　=:The scene be[t$
.ween Josh and J/=:a)n)/e (a wo :#nder])[ful, y:=?/%oung E^die Falco ?/. . .$. You n@eed a]$ woma/n not a gi$: r
!l)@
; is hil `arious . . . r/%ea:l./@]\ But Hartl%ey can't *lea!];ve #\it as such and his trick, ha=vi]-*.ng t@^he actor:s repeat th`e dialo[;`gue over-and-over be+_comes( fr/_ustrat)
ingly $=arty and $_? annoying . . . until again it becomes hilarious. What? [a te,/r(rific se!]nse of bizarre r%e# @a_[/lity this le\n-)ds the ,^!film (like kids ;in a] per%,p*
]etua`/l .am no#@tare too argu[-me+*n
!`t).　　Hartley.)'s w!eaves+]# all of a \;%small nei ] gh_;;borhood!@'s =idios:[yn.\]$crasies into a^: tapestry of seemi^*ng ste^?=%reotyp@es but wh!ic`h delves fa.-;r beneath the =*`:su][$*r][+*face, the% catalyst(\ %%,being that,?: everyone  believe!@s they know= what the unbelievab-%l,]
!.e trut
 h _;of (+the title is, #\yet%  no two people can `agree!#`/ (inc(luding our_ h/ero) on. what exactly+ that truth is. A?)/ :`wonde/!rful ,,little m$:ovie with some bi`#\?g ideas.