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The Irish musical "Once" can easily be classified as a small movie. It was made independently, shot in a grainy, handheld style and its boy-meets-girl narrative is a model of simplicity.

However, beneath its deceptively modest exterior, the film conveys such acute feelings of hurt, longing and hope that it emerges as "big" in the way that counts most—as a singular emotional experience that lingers sweetly in heart and mind long after the closing credits.

Much of the movie's power derives from its achingly sincere musical sequences. Unlike conventional musical numbers, the songs in "Once" are realistically woven into the story. But they still have an ability to express desires that the characters dare not voice in dialogue.

The story's central guy-and-girl pair—referred to in the credits as simply "Guy" and "Girl"—are already romantically committed when they meet. Guy (Glen Hansard, lead singer for the Frames), a Dublin street performer, still carries a torch for an ex-girlfriend now dwelling in London. Girl (musician Marketa Irglova), a Czech immigrant who has a real talent for playing the piano, is waiting for her husband to move over and help her take care of their daughter.

But Guy and Girl soon embark upon a musical collaboration miraculous in its creative harmony as director John Carney—a former member of the Frames himself—strikes a pointed contrast between the hopelessness of lower-class existence and the transcendence of music.

The transcendent force of love also fuels the film through the priceless chemistry of Hansard and Irglova. When their characters perform a duet, it becomes clear that Guy and Girl's interest in each other goes beyond the professional.

"Once" may be small, but seeing the two stars wail repressed feelings in song packs a visceral kick beyond any summer blockbuster action sequence.

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