It’s exciting to see Shyamalan on such confident footing once more, all these years later.
The man is played by George C. Scott, the girl by Season Hubley. They have moments in the movie when they talk, really talk, about what's important to them and we're reminded of how much movie dialogue just repeats itself, movie after movie, year after year. There's a scene in "Hardcore" where the man (who is a strict Calvinist) and the prostitute (who began selling herself in her early teens) talk about sex, religion, and morality, and we're almost startled by the belief and simple poetry in their words.
This relationship, between two people with nothing in common, who meet at an intersection in a society where many have nothing in common, is at the heart of the movie, and makes it important. It is preceded and followed by another of those story ideas that Paul Schrader seems to generate so easily. His movies are about people with values, in conflict with society. He wrote "Taxi Driver" and "Rolling Thunder" and wrote and directed "Blue Collar." All three are about people prepared to defend (with violence, if necessary) their steadfast beliefs.
The Scott character is a fundamentalist from Grand Rapids, Michigan Schrader's own hometown. The opening scenes establish the family setting, at Christmas, with a fairly thick theological debate going on around the dinner table. (The small boy listening so solemnly, Schrader has said, can be taken for himself.) A few days later, Scott's daughter leaves home for a church rally in California. She never returns. Scott hires a private detective (Peter Boyle) to try to find her, and Boyle does find her in an 8-millimeter porno movie. Can it be traced? Boyle says not: "Nobody made it. Nobody sold it. Nobody sees it. It doesn't exist."
But Scott vows to follow his daughter into the sexual underworld and bring her back. His efforts to trace her, through San Francisco and Los Angeles and San Diego, make "Hardcore" into a sneakily fascinating guided tour through massage parlors, whorehouses, and the world of porno movies. Schrader sometimes seems to be having it both ways, here: Scott is repelled by the sex scenes he explores, but is the movie?