In a world of six billion people, it only takes one to change your life. Sixty-two-year-old Walter Vale is sleepwalking through his life. Having lost his passion for teaching and writing, he fills the void by unsuccessfully trying to learn to play classical piano. When his college sends him to Manhattan to attend a conference, Walter is surprised to find a young couple has taken up residence in his apartment. Victims of a real estate scam, Tarek, a Syrian man, and Zainab, his Senegalese girlfriend, have nowhere else to go. In the first of a series of tests of the heart, Walter reluctantly allows the couple to stay with him. Touched by his kindness, Tarek, a talented musician, insists on teaching the aging academic to play the African drum. The instrument's exuberant rhythms revitalize Walter's faltering spirit and open his eyes to a vibrant world of local jazz clubs and Central Park drum circles. As the friendship between the two men deepens, the differences in culture, age and temperament fall away. After being stopped by police in the subway, Tarek is arrested as an undocumented citizen and held for deportation. As his situation turns desperate, Walter finds himself compelled to help his new friend with a passion he thought he had long ago lost. When Tarek's beautiful mother Mouna arrives unexpectedly in search of her son, the professor's personal commitment develops into an unlikely romance. And it's through these new found connections with these virtual strangers that Walter is awakened to a new world and a new life. - skip ad - Genres: Comedy and Drama Running Time: 1 hr. 48 min. Release Date: April 11th, 2008 (wide) MPAA Rating: PG-13 for brief strong language. Distributor: Overture Films Cast And Credits Starring: Richard Jenkins, Haaz Sleiman, Danai Gurira, Hiam Abbass, Marian Seldes Directed by: Tom McCarthy Produced by: Jeff Skoll, Ricky Strauss, Chris Salvaterra (II)

When we first meet Walter Vale (Richard Jenkins), he is in a state of emotional inertia that clinicians might identify as depression. He does not seem acutely unhappy, but then again, he doesn’t seem to feel much at all, locking whatever inner life he might have behind an aloof, unfailingly polite demeanor and keeping a glass of red wine handy in case further anesthesia should prove necessary.

A professor of economics at Connecticut College and a widower, Walter plods through an existence that looks comfortable and easy enough, but also profoundly tedious. He recycles old syllabuses and lecture notes for his classes, and suffers through piano lessons in a half-hearted effort to sustain some kind of connection to his wife, who was a classical concert pianist.

Early in “The Visitor,” Tom McCarthy’s second film as writer and director (the first was “The Station Agent”), it seems inevitable that something will come along to shake Walter out of his malaise. And sure enough, when he reluctantly travels to New York to deliver a paper at a conference, Walter finds that the Manhattan apartment he keeps but rarely visits has been surreptitiously rented to Tarek (Haaz Sleiman), a drummer from Syria, and Zainab (Danai Gurira), his Senegalese girlfriend, who sells handmade jewelry at flea markets. Walter’s initial dismay and irritation gives way to an instinctive flicker of compassion, and he invites the couple to stay, at least for a short while.

The curious thing about “The Visitor” is that even as it goes more or less where you think it will, it still manages to surprise you along the way. Tarek and Walter quickly become friends, though Zainab is more reserved and also clearly more suspicious of her new housemate and benefactor. Walter takes up drumming, and begins to feel his zest for life and his appreciation of New York returning after a long period of dormancy.

This urban, multicultural idyll is shattered when Tarek, who, like Zainab, is in the United States illegally, is picked up by the police and taken to a detention center in Queens. Shortly thereafter, his mother, Mouna, played by the wonderful Israeli Arab actress Hiam Abbass, arrives from Michigan, to make Walter’s life still more interesting and complicated.

To summarize Mr. McCarthy’s film as I have is to acknowledge some of the risks he has taken. It is possible to imagine a version of this story — the tale of a square, middle-aged white man liberated from his uptightness by an infusion of Third World soulfulness, attached to an exposé of the cruelty of post-9/11 immigration policies — that would be obvious and sentimental, an exercise in cultural condescension and liberal masochism. Indeed, it’s nearly impossible to imagine it any other way.

And yet, astonishingly enough, Mr. McCarthy has. Much as “The Station Agent” nimbly evaded the obstacles of cuteness and willful eccentricity it had strewn in its own path, so does “The Visitor,” with impressive grace and understatement, resist potential triteness and phony uplift.

A few false notes remain. Tarek’s friendliness is too emphatic, and the blossoming of his friendship with Walter proceeds a little too quickly and smoothly to be entirely credible. Long-term houseguests, however appealing and exotic, would surely test the patience of even the saintliest economist, to say nothing of an evident curmudgeon like Walter.

But these objections are, for the most part, dissolved by the clarity and simplicity of Mr. McCarthy’s direction and, even more, by the quiet precision of Mr. Jenkins’s performance. An actor himself (he recently played Scott Templeton, the journalistic rat on “The Wire”), Mr. McCarthy scrupulously avoids big moments and telegraphed emotions, and Mr. Jenkins, a durable character actor known to HBO subscribers as the spectral father on “Six Feet Under,” plays his repressed, circumspect character with exquisite tact. Walter loses his composure only once, and even then Mr. Jenkins keeps the outburst within the boundaries of his shy, professorial temperament.

Walter is fundamentally diffident, decent and disinclined to call attention to himself, traits that pose an obvious challenge to Mr. Jenkins, who must still make this man interesting enough, vivid enough, to carry the film’s dramatic burden. Walter himself, at his best, might insist that the story is not really about him. He, after all, leads a life of privilege and entitlement, and is unlikely ever to be faced with homelessness, exile or deportation. And yet the film’s title refers to him — a transient presence in his own life —as much as it does to Tarek, who seems at home wherever he is.

Mr. Jenkins manages at once to deflect and to earn the audience’s sympathy, and to convey an inner transformation brought about by a shy, unselfish engagement with other people. How does he do it? Great acting is always, almost by definition, something of a mystery, a blend of technique and instinct for which no identifiable formula exists. Mr. Jenkins’s posture, his balked smile, the occasional fidget of his hands or pause in his stride — all of these almost subliminally communicate something about who Walter is, so that by the end of the film we feel we know him very well. And more than that, that he is someone worth knowing.