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With the sheer volume of filmmaking and the
easier functions of getting a film out there, it’s a blurry line between
serious filmmaker, and a putz with a camera. With eyes that have seen
many, many films it’s gradually easier to see where serious meets putz.
Thankfully Moser’s film “Glacier Bay” is a stern and thoughtful allegory
about old age, and existentialism that uses the comedy to pepper the
rather insightful message that takes place during the short run time of
“Glacier Bay.” In Moser’s film, the term “Glacier Bay” is more of a MacGuffin, a goal that was never to be. Connie and Artie are a bickering
couple at their family’s party celebrating their son’s confirmation.
Artie’s grip on reality and his fading memory becomes a topic on which
Connie just doesn’t let him live down.
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Bryce and Murphy give very good
performances as this crotchety old couple who argue almost
incessantly more about their memories than actual current
events while they partake in the buffet. Moser and writer
Stroppel do not sentimentalize, or humor these two
characters; they make them as genuine as possible, and their
arguments are funny because they’re awfully realistic.
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We sit
and watch these two bicker and rant about their health, and Artie’s
deteriorating mental state, and suddenly things turn dramatic. Moser
doesn’t manipulate his audience, but instead veers the comedy to
drama ever so gently, and it works well. One interesting little plot
point is that, though, Moser doesn’t openly explore it, these two
are ignored and brushed into the background of the party throughout
the film which is an interesting reflection on their age.
This well written duo is played with
very much effectiveness. These two characters are unlikable yet
compelling at the same time; they’re two people without any sense of
decency or manners who find each other with no small coincidence.
With the surprising plot twist in the climax, we discover Moser’s
film is about unfulfilled desires, and wishes that manifest
unusually with circumstance, and ask the audience to reflect on our
own lives through these characters.
Moser and Stroppel's dramedy about life, unrealized desires, and old age
is a sweet and utterly compelling portrait in the vein of "Harry and
Tonto" that paints its two principles as unlikable but entertaining
individuals who are basically just waiting for their minds to fade away
and forget what they never accomplished.

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