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Film Review © 2020 by Trip Reynolds Genré - Drama Choppy direction by Noah Baumbach. Manipulative screenplay by oah Baumbach. Dumb story by James Frey and Lena Waithe. Executive produced by Craig Shilowich. Co-executive produced by Ashley Levinson. Produced by Noah Baumbach and David Heyman. Associate produced by Leslie Converse. Line producer by Marshall Johnson (New York) and Tracey Landon. Starring: Scarlett Johansson (as Nicole Barber, Charlie's wife) Adam Driver (as Charlie Barber, Nicole's husband) Laura Dern (as Nora Fanshaw, Nicole's lawyer) Alan Alda (as Bert Spitz, Charlie's second lawyer) Ray Liotta (as Jay Marotta, Charlie's first lawyer) Azhy Robertson (as Henry Barber, Nicole and Charlie's son) Julie Hagerty (as Sandra, Nicole's mother) Merritt Wever (as Cassie, Nicole's sister) Mark O'Brien (as Carter) Matthew Shear (as Terry) Brooke Bloom (as Mary Ann) Kyle Bornheimer (as Ted) Mickey Sumner (as Beth) Wallace Shawn (as Frank) Robert Smigel (as Mediator) Martha Kelly (as Nancy Katz) Rich Fulcher (as Judge Neil Tilden) Lucas Neff (as Pablo) Tunde Adebimpe (as Sam). This movie about about a couple who, instead of taking quality time to actually work out a viable solution to their problems, they ultimately divorce after repeatedly engaging in extended soliloquy after soliloquy after soliloquy, etc. The story? Based in New York as a supposedly happily married couple for over ten-(10) years, Charlie (Adam Driver) is an aspiring New York playright, stage director, and runs his own theatre company; and Nicole (Scarlett Johansson) is an actress in her husband's theatre company, and mother to their son, Henry (Azhy Robertson). Henry is suprisingly oblivious to the overt marital discord demonstrated by his parents. Is there something wrong with Henry? Why do Henry's parents constantly "baby" him? Nicole and Charlie agreed not to involve attorneys, but Nicole changed her mind, and film noticeably shifts from a "marriage story" to a "divorce story." Alan Alda, as Charlie's first lawyer, Bert Spitz, conveyed some sobering realities about divorce, but Charlie deemed his "soliloquy" too submissive. Conversely, Ray Liotta as Jay Marotta, Charlie's final lawyer, was extremely effective, unemotional, and robust in his zest to represent Charlie. Liotta's "soliloquy" steals every scene he's in. Likewise, Laura Dern as Nora Fanshaw, Nicole's lawyer, is equally effective in her zest to represent Nicole. Screenplay provides both attorneys with several opportunities to retort soliloquy after soliloquy for their client. By the way, this "marriage story" of divorce does not relate to the overwhelming majority of couples pursuing divorce, because most couples are not bi-costal living between New York and Los Angeles; and most people are unable to write, up front, a check for $25,000+ to a divorce attorney. No, this couple is not filthy rich, but they have financial "privilege" not common to most couples planning to divorce. There are much better films about divorce, ranging from dramatic to black comedies, including: Kramer vs. Kramer (1979), Ordinary People (1980), and The War of the Roses (1989). These aforementioned films kept your interest with well written screenplays, and clearly defined conclusions. Conversely, the screenplay for "Marriage Story" frequently teased the film's end with several fade-to-black transitions, and then went on and on, scene after scence, with yet another prolonged sililoquy. Oh, no, here we go again. At one point, Charlie accidently cuts himself and appears to be bleeding profusely, so much so that he became lightheaded from the blood loss, nearly unconscious, and fell to the kitchen floor. Nope, he didn't die, because he made it to the next scene. Film represents an original screenplay by the film's director, Noah Baumbach, which intentionally goes downhill from the very beginning as we watch what appears to be a loving couple sink into an abyss of depression, regret, blame, deceit, and equally important, the mutual denial or indifference these parents perpetually exude as they coddle their eight-(8) year-old son's inability to read. As much as Charlie and Nicole want the best for their son, absent from the screenplay is any direct, meaningful dialogue with Henry to ascertain what he believes to be in his best interest. Instead, we get emotionally-manipulative dialogue that culminates with tears pouring (on command) from the eyes of Scarlett Johansson's "Nicole" and tears from Adam Driver's "Charlie." Screenplay wants you to "genuinely" feel for these characters, but this emotional manipulation is "genuinely" disingenuous. For example, there's the scene where Charlie became so upset that he stereotypically punched a hole in the drywall of his apartment. In reality this much marital anger and agnst would typically result in a domestic violence call to the police, and the landlord would likely pursue eviction for intentional destruction of property. But no, here we have sensible adults who prefer to argue in prolonged soliloquies instead of simply leaving the room. Julie Hagerty's performance as Sandra, Nicole's mother, was refreshing and the only positive aspect of this film. Direction by Noah Baumbach was marred by unstable camera angles which included close-ups that ranged from out-of-focus to tight and sharp. Editing by Jennifer Lame was sluggish, and film should have been cut by at least 47 minutes, from 137 minutes to ninety-(90) minutes. This is a made-for-TV film, or at best Netflix, but it's not worthy of theatrical release. RECOMMENDATION: Again, there are much better films about divorce, ranging from dramatic to black comedies, including: Kramer vs. Kramer (1979), Ordinary People (1980), and The War of the Roses (1989). |
MARRIAGE STORY 