Any way you look at it, the man who calls himself Prot is a stranger in a strange land.
Prot (Kevin Spacey) claims he is an extraterrestrial on a fact-finding mission, which explains why he is currently a visitor at a Manhattan psychiatric hospital. At first it's just a few patients who believe in Prot, but eventually he wins over the whole ward plus a few of the staff and even confounds some of America's leading astronomers.
Prot insists he has to return to his planet K-Pax on a specific day at a specific time. His impending departure causes quite a stir at the hospital because Prot announces he can take one other person with him to the serene planet of K-Pax.
Dr. Mark Powell (Jeff Bridges) knows he must break through this new patient's delusions before that prescribed time or else a trauma as great as or greater than the one that caused the psychosis will likely occur.
Then again, there is the possibility that Prot might just be who he claims to be.
The brilliance of K-Pax, opening in local theatres today, is that Spacey's performance is so enthralling it places the viewer in much the same head space as the good doctor.
Sure, it's highly unlikely that Prot is an alien, but there is that remotest of remote possibilities that he's as non-human as the little guy in E.T. or the ethereal humanoid stranger in Starman.
Spacey's performance is remarkably deceptive.
It appears as if he is doing so little.
He almost grins, almost tilts his head in bemused interest, almost has a weird walk and almost has an affected speech.
A less secure actor might have gone for more obvious quirks and a more flamboyant actor would have exploited all the ticks. Spacey's genius is that his restraint seems so effortless, but you can bet it wasn't. This is a precise and calculated characterization that is anything but static.
Prot does change as a result of his interaction with Powell, just as the doctor changes the more he begins to understand and reach out to his patient.
Thematically, structurally and dramatically, K-PAX is a cross between One Flew Over the Cuckoo's Nest and Equus. Like Randall P. McMurphy in Cuckoo's Nest, Prot disrupts the medicated equilibrium of the mental institution. He inspires his fellow patients while confounding and challenging the staff.
Like the psychiatrist in Equus, Dr. Powell becomes obsessed with finding the trigger that caused so complete and convincing a delusion.
What Powell discovers is as shocking as anything that made the boy in Equus poke out the eyes of the horses under his care.
Spacey has the more theatrical and instantly sympathetic role, but what Bridges must achieve, and does, is every bit as astonishing.
He must show the numerous struggles that are going on within the doctor and the subtle but profound changes that are occurring because of his interaction with this mysterious patient.
Both performances are worthy of Oscar consideration because the accomplishments are equally stellar.
Iain Softley's direction is unhurried and confident. He lets the film unfold gently and without any sensationalism.
The emotional climaxes are harrowing because they are as purposeful and understated as the performances.
The supporting performances are arresting, but Softley pushes them a little too far into the background.
Alfre Woodard, as the doctor who questions Powell's methods, and Mary McCormack, as his frustrated wife, need to create more tension for him and for the audience.
But these are minor distractions considering the wealth of drama, comedy and insights K-Pax delivers.
(This film is rated AA)
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