David O'ConnellRachel Getting Married
March 23rd 2009 04:25
Jonathan Demme’s best work now seems a distant daydream, from the irresistible, sexy appeal of Something Wild (1986) and Married to the Mob (1988) to his love affair with critical circles in the wake of his opus, Silence of the Lambs (1991). Since then he’s returned only fitfully to feature filmmaking with variable results, hitting a nadir with ill-advised remakes of Charade and The Manchurian Candidate.
His latest film marks a fresh approach, one he’s been refining in his recent documentaries and now reaching its culmination in Rachel Getting Married. Shot on digital video in a raw, naturalistic fashion it seeks to re-create the terms of those non-fictional works, forcing us to submit to the torrid reintegration of a young woman, Kym (Anne Hathaway), into the family that struggles to define her place amongst them, a black sheep whose presence is evoked only by a sense of duty.
Released from a rehab clinic after nine months, she’s picked up by her father and stepmother for the wedding of her sister Rachel (Rosemarie DeWitt). It leads to scenarios ripe with possibilities and considering this is another uniquely dysfunctional cinematic family, expectations for fireworks are high. With every interaction, contemptous asides seem to bubble dangerously close to the surface, ambivalence straining against the ties of blood that bind them.
Kym is highly-strung, brimming with self-loathing and personal issues that have catapulted her down a road of self-destruction. Most of her jittery discomfort stems from an accident years before that claimed her young brother’s life, a catastrophic event hastened by her drug-addiction at the time. Never allowing herself the breathing space that forgiveness might grant her, Kym has barbs aimed in every direction, her mood foreshadowing an imminent meltdown as the façade she holds in place to greet her family begins to falter.
The first produced screenplay of Jenny Lumet (daughter of legendary director Sidney), Rachel Getting Married is an illuminating but frustrating film, with a series of excellent scenes interspersed with aimless ones seeking to qualify its documentary-like credentials - the irritating musicians' preparatory run-throughs of their catalog of songs being a case in point, serving the needless dual purpose of both score and source music. The post-wedding celebrations seem to hit a rut of repetition at one stage as well, derailing the drama and lurching precariously into Deer Hunter territory!
One of the best scenes sees an endearing series of speeches at the pre-wedding reception uncomfortably broached by Kym’s moment in the spotlight. A palpable terror and anticipation of embarrassment seems to darken the gaze of all who know her best, passing from father to mother and sister and back again, like an infectious bug transmitted by the sound of Kym’s stuttering voice.
De Witt is excellent as the frustrated Rachel who seems stuck in an endless love-hate loop when communicating with her sister, leading to spiteful battles of will, the past dredged up as reinforcement. Mather Zickel is effective support as another former addict, best man, and only ally for Kym, whilst it’s nice to see Debra Winger on screen again in a supporting role as Kym’s distant mother.
Hathaway is the true star of the show however, taking a giant leap away from the frothy entertainments that have stabilized her reputation but held her back from weightier credentials until now. Playing someone essentially unlikable, she allows glimmers of humanity to shine through; her past misdeeds may seem part of a gargantuan hall of shame that blackens her life and is apt to alienate most people’s empathetic response, but beyond the irascible nature and nihilistic bravado is a desperate, believable young woman harboring an impassioned cry for help.
His latest film marks a fresh approach, one he’s been refining in his recent documentaries and now reaching its culmination in Rachel Getting Married. Shot on digital video in a raw, naturalistic fashion it seeks to re-create the terms of those non-fictional works, forcing us to submit to the torrid reintegration of a young woman, Kym (Anne Hathaway), into the family that struggles to define her place amongst them, a black sheep whose presence is evoked only by a sense of duty.
Released from a rehab clinic after nine months, she’s picked up by her father and stepmother for the wedding of her sister Rachel (Rosemarie DeWitt). It leads to scenarios ripe with possibilities and considering this is another uniquely dysfunctional cinematic family, expectations for fireworks are high. With every interaction, contemptous asides seem to bubble dangerously close to the surface, ambivalence straining against the ties of blood that bind them.
Kym is highly-strung, brimming with self-loathing and personal issues that have catapulted her down a road of self-destruction. Most of her jittery discomfort stems from an accident years before that claimed her young brother’s life, a catastrophic event hastened by her drug-addiction at the time. Never allowing herself the breathing space that forgiveness might grant her, Kym has barbs aimed in every direction, her mood foreshadowing an imminent meltdown as the façade she holds in place to greet her family begins to falter.
The first produced screenplay of Jenny Lumet (daughter of legendary director Sidney), Rachel Getting Married is an illuminating but frustrating film, with a series of excellent scenes interspersed with aimless ones seeking to qualify its documentary-like credentials - the irritating musicians' preparatory run-throughs of their catalog of songs being a case in point, serving the needless dual purpose of both score and source music. The post-wedding celebrations seem to hit a rut of repetition at one stage as well, derailing the drama and lurching precariously into Deer Hunter territory!
One of the best scenes sees an endearing series of speeches at the pre-wedding reception uncomfortably broached by Kym’s moment in the spotlight. A palpable terror and anticipation of embarrassment seems to darken the gaze of all who know her best, passing from father to mother and sister and back again, like an infectious bug transmitted by the sound of Kym’s stuttering voice.
De Witt is excellent as the frustrated Rachel who seems stuck in an endless love-hate loop when communicating with her sister, leading to spiteful battles of will, the past dredged up as reinforcement. Mather Zickel is effective support as another former addict, best man, and only ally for Kym, whilst it’s nice to see Debra Winger on screen again in a supporting role as Kym’s distant mother.
Hathaway is the true star of the show however, taking a giant leap away from the frothy entertainments that have stabilized her reputation but held her back from weightier credentials until now. Playing someone essentially unlikable, she allows glimmers of humanity to shine through; her past misdeeds may seem part of a gargantuan hall of shame that blackens her life and is apt to alienate most people’s empathetic response, but beyond the irascible nature and nihilistic bravado is a desperate, believable young woman harboring an impassioned cry for help.
| 86 |
| Vote |
Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
Screen Fanatic
I wasn't overly enthusiastic about seeing this either mate, but it's quite strong even if it does meander in a few spots. It certainly captures the joy and celebration of a wedding and its authenticity can't be faulted. It's a big improvement at least on his recent work.
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by David O'Connell
Screen Fanatic
Comment by Anonymous