Many things have been said about "Lost In Transportation". "Mistitled" is one of them. But even if this film had been called "Samsonite and Delilah", "Luggage's Labours Lost" or "Runway Bride", it would still score the target of poignancy that Carl Schultz had mentioned in his comments.
But I must differ with Monsieur Schultz on a couple of points. One is on the character of Fred. Fred Strother, as Fred, provides the pragmatic counterpoint to the untainted humanity of Joe Hansard's Schlepp. As the French say, Fred est nous, "he is us". The compromises of the proletariat are embodied in his character, imposed by a materialistic system. As a symbol of the worker he is not a man whom one would despise, but a man whom one would trust to build their patio deck.
As far as Schultz's reference to Chaplin, I dare to suggest that Hansard stands on his own without need of the diminishing of Chaplin's relevance. There are aspects of Chaplin's tramp that have always been unlikable: his arrogance, his ego, his effortless weight control. Hansard is unburdened by these qualities.
If I may take a cue from the Cahiers du Cinema, and coin a phrase, I would describe the genre to which this film belongs as "Marty"dom, after the classic film starring Ernest Borgnine. Joe is in the same company as Emil Jannings in "The Last Laugh", Jackie Gleason in "Gigot", and Dom De Luise in "Cannonball Run II".
It's a humane genre, about "non-persons", or so-called "nobodies". Mother Theresa once said that the poor were "Jesus approaching us in disguise". The nobodies are Jesus auditioning for "Fear Factor". But if you're walking down the street sometime, and spot some nobody's ancient eyes, and don't just pass 'em by and stare, as if you didn't care, and say "Hello in there", what will you find? Well, usually a sullen, ill-mannered, superstitious lout capable of exploding into a homicidal rampage. But in discovering Joe Schlepp, the audience for this film will find a heart of gold. A true heart of gold. Neil Young should see this flick.
Enough jokes. Seriously, what stands out about this film is its collection of talent. Veteran, workaday talent who have put together a project on their terms, in their voice, after paying their dues in the local theater, television and film scene of the Washington, D.C. area.
When more films like this are made about people, rather than formulas, the actors, directors and editors like the ones who made this film will no longer be taken for granted, and properly appreciated for keeping movies human.