David O'ConnellI Love You, Man
June 10th 2009 04:01
John Hamburg's I Love You, Man is a neat inversion of that trusty notion of a man's doubtful ability to attract members of the fairer sex into his inner circle. Paul Rudd’s Peter Klaven has an amusing problem and one with the potential to derail his blissful new life with fiancé Zooey (Rashida Jones): he has absolutely no friends of a masculine persuasion. Rather than invoking exasperation, this tidbit of self-knowledge - only latched upon and inflated by Zooey’s bevy of gasping, gossiping friends - causes Peter to reflect in befuddlement at first. Can it be that a man so at ease with women, inviting smiles and an effortless sense of camaraderie at work, has no idea how to 'attract' a man into his network of confidantes?
The issue becomes a source of serious concern when he overhears the close-knit gaggle reiterating to Zooey the unnatural imbalance of her soon-to-be husband's otherwise perfect existence, prodding him to act. He turns to his gay brother, Robbie (Andy Samberg), for assistance but a few subsequent ‘dates’ don’t transpire as planned; one in particular takes a decidedly wrong turn when he’s beset upon by a gay man who gleans the spark of a connection in Peter's eye.
In his job as a real estate vendor he’s desperately attempting to sell the home of irate former Hulk, Lou Ferrigno, when he comes across a single guy, Sydney (Jason Segal) whose only reason for attending the open house is the enticement of free food. They strike up an easy conversation, Sydney’s refreshing honesty and laidback approach to life instantly intriguing Peter and setting off his radar. A freiendship becomes possible when they swap business cards, but will Peter's overexuberance and insecurity foil any chance thay have at really connecting?
Rudd and Segal are an amusing, somehow perfect, duo. Peter tries ridiculously hard to impress Sydney with his attempts at assimilating with his loose and carefree masculine persona in the way he speaks and moves. He comes across as goofy, absurd and far from smooth; in other words, cringe-worthy in the most entertaining sense. Still, Sydney finds him amiable company, filling a void he might not admit to, and their similar taste in music and other things only cements their growing bond.
Though the film never aims for any lofty comedic heights, stretching its thin but humourous premise into a series of self-contained skits, it does have admirable intentions; the performances are endearing ones too, never stooping to crudity for the sake of outrageousness (well, only on a couple of occasions!). It’s interesting to watch the various transformations: Peter from blissful ignorance of the void in his life, to a clingy and desperate desire to impress; Sydney from idle slacker to someone a lot needier and alone than he first appears.
Amusingly, later on, there's a neat reversal of Zooey’s anxieties too - from vague unease at her perfect catch’s lack of male interaction to a suddenly morbid fear of losing him to his new friend. Their harmonious domesticity, with all its comforting rituals, becomes severely disrupted by Peter’s obsession with immersing himself in Sydney’s company. It’s classic overcompensation but there’s genuine excitement fueling Peter’s turnaround even if, by now, it feels like an intervention gone horribly wrong to Zooey, putting their impending marriage in jeopardy.
Though not a classic comedy, I Love You Man is hard to dislike. It sounds trite, but it has heart beneath it's superficial facade, and it’s genuinely funny too. A great central performance by the ever-impressive Rudd whose obviously not above making a fool of himself for the sake of entertainment elevates it as well, whilst Segal, so good in Saving Sarah Marshall, seems to be turning self-debasement into an artform.
The issue becomes a source of serious concern when he overhears the close-knit gaggle reiterating to Zooey the unnatural imbalance of her soon-to-be husband's otherwise perfect existence, prodding him to act. He turns to his gay brother, Robbie (Andy Samberg), for assistance but a few subsequent ‘dates’ don’t transpire as planned; one in particular takes a decidedly wrong turn when he’s beset upon by a gay man who gleans the spark of a connection in Peter's eye.
In his job as a real estate vendor he’s desperately attempting to sell the home of irate former Hulk, Lou Ferrigno, when he comes across a single guy, Sydney (Jason Segal) whose only reason for attending the open house is the enticement of free food. They strike up an easy conversation, Sydney’s refreshing honesty and laidback approach to life instantly intriguing Peter and setting off his radar. A freiendship becomes possible when they swap business cards, but will Peter's overexuberance and insecurity foil any chance thay have at really connecting?
First meeting: Sydney (Jason Segal) and Peter (Paul Rudd)
Rudd and Segal are an amusing, somehow perfect, duo. Peter tries ridiculously hard to impress Sydney with his attempts at assimilating with his loose and carefree masculine persona in the way he speaks and moves. He comes across as goofy, absurd and far from smooth; in other words, cringe-worthy in the most entertaining sense. Still, Sydney finds him amiable company, filling a void he might not admit to, and their similar taste in music and other things only cements their growing bond.
Though the film never aims for any lofty comedic heights, stretching its thin but humourous premise into a series of self-contained skits, it does have admirable intentions; the performances are endearing ones too, never stooping to crudity for the sake of outrageousness (well, only on a couple of occasions!). It’s interesting to watch the various transformations: Peter from blissful ignorance of the void in his life, to a clingy and desperate desire to impress; Sydney from idle slacker to someone a lot needier and alone than he first appears.
Serious male bonding as a perplexed Zooey (Rashida Jones) looks on
Amusingly, later on, there's a neat reversal of Zooey’s anxieties too - from vague unease at her perfect catch’s lack of male interaction to a suddenly morbid fear of losing him to his new friend. Their harmonious domesticity, with all its comforting rituals, becomes severely disrupted by Peter’s obsession with immersing himself in Sydney’s company. It’s classic overcompensation but there’s genuine excitement fueling Peter’s turnaround even if, by now, it feels like an intervention gone horribly wrong to Zooey, putting their impending marriage in jeopardy.
Though not a classic comedy, I Love You Man is hard to dislike. It sounds trite, but it has heart beneath it's superficial facade, and it’s genuinely funny too. A great central performance by the ever-impressive Rudd whose obviously not above making a fool of himself for the sake of entertainment elevates it as well, whilst Segal, so good in Saving Sarah Marshall, seems to be turning self-debasement into an artform.
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The film also succeeds, I thought, by making Zooey to be an interesting character, ignoring the tendency of most 'bromances' to make the women into awful characters.
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