BY LARRY CARROLL | In many ways, Pierce Brosnan is like a modern day Steve McQueen. While at first glance the ultra-suave actor could hardly be confused for the gruff, unpolished film legend, the two men have more in common than just being Thomas Crown. Like Brosnan, the late McQueen was blessed with a natural ability to hold the camera's attention, often with no more than a mere smile or glint from the eye. Both could cast a spell over the ladies, while still clutching their machismo firmly enough that it made men want to be like them. And both men always had to fight an uphill battle when it came to gaining respect as an actor; since they made everything look so easy, and so many of their films were box-office gold, they were lumped in with all the one-dimensional action stars of the day.

McQueen was constantly frustrated by this lack of recognition. As his career progressed, he went out of his way to play against type, taking roles in films like Papillon and The Thomas Crown Affair for the chance to show that there was more to him than muscles and attitude. His greatest performance, in the 1967 Robert Wise classic The Sand Pebbles, earned him the only Oscar nomination he would ever receive, and he went home empty handed on that evening. McQueen didn't leave us with very many of these dramatic performances, probably because his untimely passing cut his career short. When he did get away from the movies that paid the bills, however, we saw glimpses of what he could have been.

Brosnan seems to have reached a similar frustration with his typecasting, and rightfully so. Having successfully taken on the daunting task of stepping into the James Bond tuxedo, he now makes clear with the drama Evelyn that there are depths to his abilities that have yet to be mined. While the tender, moving true tale may not garner him an Oscar nomination, it could very well prove to be Brosnan's The Sand Pebbles, a standout dramatic performance from an action star looking to be taken seriously.

Brosnan plays Desmond Doyle, a hard-drinking, infrequently employed Irishman living in Fatima Mansions in 1953. When his wife leaves him for another man, the courts take away his daughter and two sons, acting on a law that single fathers are unfit to care for their children alone. Devastated, Doyle vows to reunite his family by doing something without precedent in Ireland - challenging the law before the Supreme Court.

Before he can do so, however, Doyle needs to clean up his act. These are the scenes that amaze as we watch Brosnan ply his trade. He allowed himself to become very "Un-Pierce" for the role - in most scenes he's sporting a five o'clock shadow, wearing tattered clothes and even showing a bit of a potbelly - and the actor's physical transformation is more than just a "Look, I can be Robert DeNiro" gimmick here. Channeling the late Doyle, Brosnan becomes a surly alcoholic, a lout who keeps making things worse for himself, and a lazy father who doesn't take life seriously until everything he loves is threatened. The actor is convincing through it all, and manages the difficult task of getting the audience to forget that it is, after all, James Bond on the screen. Brosnan even shows off his impressive vocal chords, singing some traditional Irish ditties.

This is a film that is out of the ordinary because it feels more intelligent and challenging then it really is. At its basest level, it is a schmaltzy movie of the week that unmercifully tugs at your heartstrings. Anyone can see where the story is headed as this father goes from one court to the next while those around him proclaim, "To fight the church and state is to fight Goliath" and he replies "Yeah, well David won in the book I read." Nevertheless, Evelyn casts a spell over you with its vivid detailing of the setting and period, and the strength of the characters. It's a joy to turn off your brain and let the movie take hold.

Doyle is surrounded by colorful, resilient souls who keep him from throwing in the towel. Frank Kelly (an old friend of Brosnan's from his "Remington Steele" days) brings humanity and wit to the role of Henry, Desmond's father. The two have a relationship that any man would envy - his father is a wiseman, a friend, a staunch supporter and even a musical accompanist. The two actors play well off each other, and Kelly makes a major impact during the limited screen time he is allotted.

Another strong character is Nick Barron (Aidan Quinn, Legends of the Fall), an American lawyer who agrees to take on Desmond's case. Too often, Quinn falls into the Andy Garcia trap of sleepwalking through movies using little else but his good looks and charm, but not here. Quinn gives the best performance we've seen from him in many years; like Brosnan, he seems to be taking great pride in his work this time, and it shows. Quinn is appropriately pessimistic but resolute, particularly when he gets to shine in the courtroom scenes. Similarly solid, if less spectacular, efforts come from the rest of Desmond Doyle's legal team - Stephen Rea (The Crying Game) as solicitor Michael Beattie and Alan Bates (The Sum of All Fears) as Nick's mentor, Thomas Connolly.

Less effective is Julianna Margulies ("ER") as Bernadette, sister of Michael, keeper of the local watering hole, and love interest for Desmond. Margulies seems like she would be up to the task if the script would give her something to do, but she instead spends the majority of her time washing mugs and sneaking longing glances at Doyle. Their romance is an unsuccessful sell, and serves only to undermine the effect of a single father trying to prove he can raise his children alone. The film is "based on" a true story, which could mean anything from a strict retelling to an attempt at keeping nothing but the genders of the characters intact. Either way, if the real Desmond did fall in love with a girl like Bernadette, director Bruce Beresford (Driving Miss Daisy) should have downplayed it.

One aspect of the story that, I can only hope, wasn't faithfully retold is the rampant favoritism that Doyle shows towards Evelyn. Granted, Sophie Vavasseur is one of the most adorable little girls I've ever seen on a movie screen, but the other two kids are little more than extras once you get past the opening. Do they miss their father as well? Does he even remember their names? It's hard to tell when scene after scene revolves around Evelyn. Even the title of the film makes no real sense once you realize that he has three children he's trying to get back.

But these are small complaints about what is a very special, immensely enjoyable, genuinely spellbinding film. The movie casts a spell on you like St. Patrick's Day - everybody will feel Irish by the time this story is over. This is due in large part to the magnificent performance of Pierce Brosnan, an action star who should do more dramas. Steve McQueen would have wanted it that way.

GRADE: B+