Fin has been shutting people out his entire life. But he never knew that this quality would end up drawing people to him.

Prior to Fin’s journey in “The Station Agent” there are several excellent scenes in which we see why he has had to shut the world out. These scenes perfectly set the stage for the subtle transformation that is to follow. Fin will not only find a new place to live, he may end up finding a new reason to go on living.

Sundance darling and new Miramax theatrical release “The Station Agent” tells the story of 4 foot 6 inch Finbar McBride (Peter Dinklage) who after the death of his devoted friend takes up residence in a retired train station. There he meets Joe (Bobby Cannavale) who cannot spend a single moment in silence, constantly talking to anyone who will listen, even if they aren’t really listening. While walking from his new home to the local grocery, Fin is nearly run down by Olivia (Patricia Clarkston) an artist who has marooned herself in this small New Jersey town far away from her husband.

Fin doesn’t want friendship or involvement. He doesn’t want their pity or interest. He wants nothing more than to be left alone. Of course, curiosity breaks down his defenses. In time, Fin is talking with Joe who runs a breakfast/lunch truck that mysteriously parks itself each morning outside the station even though it does not appear to be a hotspot of local commerce. Olivia tries to apologize for nearly running over Fin with her SUV and ends up collapsing for the night on his couch. Fin’s silent manner, not to mention his stature, makes him the perfect listener. And we know he is listening, we know he cares. You can tell it in his eyes.

These three souls have nothing visibly in common. It is what they don’t show that will bind them. Each in their own way is hiding, Joe behind a barrage of talk, Olivia by ignoring her husband’s calls, and Fin by ignoring most anyone and immersing himself in trains. Yes, trains are important here and they run according to schedule.

“The Station Agent” is about how three different people come together and find some peace, I think. This is not a neat package, rather, a true one and is as engrossing as it might also be mundane.

Writer/Director Thomas McCarthy has taken the bare bones approach and focused on characters. And he makes you care about his creations. Blessed with marvelous performances, particularly by the perfect Dinklage, McCarthy smartly allows the story to unfold naturally instead of forcing things. For example, there are no unrealistic romantic moments; things develop slowly like they would, perhaps, in the real world. Sometimes, focus on the incremental is not jazzy enough for American audiences who reward ridiculous films at the box office that create what can only be called bizarro universes populated by folks none of us have ever met. I’m still shocked and disgusted that “How to Lose a Guy in 10 Days” broke the $100 million mark. Its embarrassing concluding scenes were just unforgivable.

Aside from the convincing work of both Clarkston and Cannavale, 4 foot 6 inch Dinklage gives the story a literal sense of sincerity. His stature was required for the role and early on the film gets much mileage out of his struggle with his dwarfism which I now know to be an inaccurate statement. You see, after meeting Dinklage, I realized that like Fin, HE no longer struggles with HIS dwarfism. The problem lies with us and our reaction to his particular physical differences. By ignoring insensitive reactions, and proceeding within this world like the rest of us, in time, Fin’s physical characteristics fade from view and all that is left is a man. He is one of us, with wants, desires, and is really struggling to find love that is the ultimate form of acceptance regardless of your height.

Dinklage’s eyes exude the texture of a man with a lot on his mind. He plays Fin cautiously inching toward an explosion. Dinklage pauses carefully in speech when he needs to and says more with less words. McCarthy’s script smartly recognizes that Fin’s quiet confidence only makes us more curious about Fin’s future. This is a real risk because Dinklage is asked to sit quietly most of the time and look serious. And he really pulls it off well. We want love to shine on him but we aren’t sure which girl he should go after. And we care a whole bunch. Clarkston plays a potential love interest and Michelle Williams plays a young librarian who may have the hots for him. Williams convincingly plays a girl who just doesn’t notice that Fin is a dwarf. And, you know, by the end of the film, we don’t notice either.

“The Station Agent” is delicate and measured. Paced for patient audiences who want to think.

Jonathan W. Hickman, 2003