The movie announces its individuality in its opening shot, which is of a loathsome factory -- a vast block of ugliness set down in the middle of a field of mud. Into this factory every morning trudge the broken spirits and unhealthy bodies of its employees, among them the ashen-faced Joe (Tom Hanks), who has felt sick for years and believes that the buzzing fluorescent tubes above his desk may be driving him mad.

The factory is a triumph of production design (by Bo Welch, who also designed "Beetlejuice"). It is a reminder that most movies these days are rigidly realistic in their settings, as if a law had been passed against flights of fancy like this factory that squats obscenely in the center of the screen. The entire movie breaks that law and allows fantasy back into the movies again. Like “Metropolis” (1927), "The Wizard of Oz," "Ghostbusters" or "Batman," this movie isn't content to photograph the existing world -- it goes to the trouble of creating its own.

In the factory, Joe hunches in his little corner, quailing at the attacks of his boorish boss (Dan Hedaya) and hardly daring a peek at the office secretary (Meg Ryan), whose huge typewriter seems ready to crush her. He hates his job. Hates, hates, hates it. He barely has the strength to crawl out to a doctor's appointment, where he learns that a Brain Cloud is spreading between the hemispheres of his brain.

He will feel terrific for four or five months, and then he will die.

The death sentence is a liberation. Joe quits his job, and is almost immediately offered another one. A man named Graynamore (Lloyd Bridges) owns an island that is rich in a rare mineral. The island is inhabited by natives who must be placated. They need a human sacrifice for their volcano. Since Joe is going to die anyway, Graynamore reasons, why shouldn't he go out in style by leaping into the volcano?

Sounds good to Joe. And meanwhile the movie has been developing into a duet between whimsy and romance. The writer-director, John Patrick Shanley, is the same man who wrote Norman Jewison's wonderful "Moonstruck" and the astonishingly bad "The January Man." Now he is back on the track again. The best thing about his direction is his own dialogue. The characters in this movie speak as if they would like to say things that had not been said before, in words that had never been used in quite the same way.