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| Photo Credit: IMDb |
I recently reviewed Martin Scorsese's The Irishman, and now we turn our attention to another Netflix Oscar contender, Noah Baumbach's Marriage Story. Which is the stronger contender for Best Picture? Let's find out...
Part 1: An Introduction to Genius
You could say that writer/director Noah Baumbach was born into the business. His father, Jonathan Baumbach - who passed away in March - was a novelist and film critic and his mother, Georgia Brown, is also a well-regarded critic. Noah has 14 directorial credits on IMDb, many of which contain autobiographical elements. His breakthrough film, The Squid and the Whale, was famously influenced by his parents' divorce, which occurred during his childhood. The Squid and the Whale is framed from the perspective of a child of divorce.
Well, here we are again. Noah's divorce from actress Jennifer Jason Leigh was quite public back in September of 2013, and now (as a result?) we have the superb Marriage Story, which could just have easily been titled Divorce Story. Nicole (Scarlett Johansson) is an actress and Charlie (Adam Driver) is a director. Hmm.
And Baumbach hits all the right notes in the opening sequences of Marriage Story. Often in a romance - I'm hesitant to call this a "romantic comedy", though it kind of is - the character building occurs gradually. Sometimes there's no character building at all. Sometimes in a romance we have "man" and "woman" in movie land, and we're expected to know exactly what those labels entail. But that couldn't be further from the truth in Marriage Story, the work of a far more thoughtful filmmaker.
Instead, Baumbach opens with a bang - a virtuoso sequence during which both protagonists are described in great detail. Nicole is describing Charlie in a letter she penned, and vice-versa. Unfortunately, we quickly learn these letters were written as reminders of why they fell in love in the first place; Nicole and Charlie are sitting on opposite sides of the room with a mediator, talking divorce.
And these letters are storytelling genius because we become more invested in Nicole and Charlie than we normally would be at such an early stage of a romance. Sometimes we have to wait and see whom we like better; but not here, not in Marriage Story.
In Marriage Story, we get the picture right out of the gate - Nicole and Charlie are good, normal, complicated people. Like anybody else. Sure, their professions are often romanticized - actress and director - but these two characters are just people. They both have their own selfish needs. Each complements the other. They have things in common, and drastic differences of opinion. They are a young couple with an 8-year old son in the middle; just trying to figure it all out together, or apart.
The first part of Marriage Story isn't about figuring out whom we side with; no, it's about trying to figure out how these two nice, talented people just couldn't make it work.
And these letters are storytelling genius because we become more invested in Nicole and Charlie than we normally would be at such an early stage of a romance. Sometimes we have to wait and see whom we like better; but not here, not in Marriage Story.
In Marriage Story, we get the picture right out of the gate - Nicole and Charlie are good, normal, complicated people. Like anybody else. Sure, their professions are often romanticized - actress and director - but these two characters are just people. They both have their own selfish needs. Each complements the other. They have things in common, and drastic differences of opinion. They are a young couple with an 8-year old son in the middle; just trying to figure it all out together, or apart.
The first part of Marriage Story isn't about figuring out whom we side with; no, it's about trying to figure out how these two nice, talented people just couldn't make it work.
Part 2: Less Plot, More Character
Marriage Story isn't a plot movie. There aren't any dramatic twists - Scar Jo doesn't turn out to be a superhero and Driver isn't a psycho stalker in waiting. Nicole and Charlie are getting divorced, and Henry's (Azhy Robertson) fate is hanging in the balance.
Enter three attorneys: Nora Fanshaw, Jay Marotta and Bert Spitz - they are Laura Dern, Ray Liotta and Alan Alda, respectively. All three are fantastic. The comparisons to Kramer vs. Kramer are (somewhat) warranted, and I love that film, too. This is a movie about a custody battle, and Dern, Liotta and Alda all bring different styles and perspectives to that battle.
Dern makes Nora a hyperized power attorney; she knows the ins and outs of her business and exploits them whenever necessary. Her two sides come out in the respective battles with Jay and Bert; the latter begins as Charlie's attorney, and his aww shucks demeanor extinguishes Nora's fire. She knows Bert is a lamb. In the end, she and Nicole are going to win, so she concedes some of the minor negotiation points.
But that version of Nora quickly goes out the window when Jay takes over for Bert. Jay is a shark, and apparently Nora is too (when she needs to be). Dern and Liotta are electrifying in the courtroom. They attack one another with vigor and vitriol, and it's a real pleasure to behold. I buy Jay Marotta and Nora Fanshaw as high-powered attorneys who existed before the opening credits of Marriage Story. Yes, these are showy performances, but the characters feel lived in. Great work by all three. Alda is more understated, but wise, knowledgeable and funny. His timing is as superb as ever.
This movie belongs to Baumbach, Johansson and Driver, but you could argue that Dern, Alda and Liotta carry us through the middle of the story. As an aside to that point, many movies start and end strong while slogging through the middle (Act II, the body, what have you); so it's a testament to Marriage Story that Baumbach allows these colorful attorneys to give us some space from Nicole and Charlie, so we don't get bogged down or oversaturated by two particular characters.
This movie belongs to Baumbach, Johansson and Driver, but you could argue that Dern, Alda and Liotta carry us through the middle of the story. As an aside to that point, many movies start and end strong while slogging through the middle (Act II, the body, what have you); so it's a testament to Marriage Story that Baumbach allows these colorful attorneys to give us some space from Nicole and Charlie, so we don't get bogged down or oversaturated by two particular characters.
Part 3: Marriage Story or The Irishman?
Relationships are fascinating to me. So many little idiosyncrasies and tiny details rolled into one, singular entity. So many compromises, or lack thereof. Marriage Story exists within those margins; Nicole and Charlie definitely admire one another and are both great parents, so what exactly is going on here?
Those questions many of us have contemplated are the areas in which Marriage Story shines. Sometimes its tone is a little all over the place - two screwball segments immediately come to mind, one of which lands in a major way - but Marriage Story's heart is in the right place.
Scar Jo is quite clearly a better and more well-rounded performer than Driver, but the latter remains interesting despite deficiencies. Sometimes he seems blank. Maybe that's Driver or the way he sees Charlie. Either way, it's an intriguing performance that can also seem aloof. At some points, Charlie is far too oblivious to the direction his divorce is headed. His naivety can be offensive because he's supposedly a pretty smart and talented guy. But hey, I nitpick.
Johansson is pretty special; it's interesting to chart her career. Lost in Translation introduced us to her in an understated capacity, but of course the film itself was an awards darling. Then, as she matured over the course of a few years, she stood on the shoulders of her sex symbol status; Vicky Cristina Barcelona and He's Just Not That Into You immediately pop to mind. But was that really her? Maybe she's always been a chameleon evolving with the times. Her was a great role for her, and we never see her face. Now, in Marriage Story, she seems a symbol of our time. Her look is completely different. She's an independent career woman suffocated by the shadow of an auteur ex-husband. Early on I wondered if she was a one-trick pony, but that wonder's long gone now. For the most part, Scarlett Johansson can be whomever she wants to be. That's as close to saying "she's a great actress" as I'm willing to go.
In the head to head, Marriage Story and The Irishman are dramatically different. Neither are plot-driven, but The Irishman follows a somewhat traditional mob story arc. Marriage Story, as you've probably come to realize by now, is character-driven and character-centric. I like the characters in both films. I like the performances in both films, too. We're really splitting hairs, here.
In the end, Marriage Story combines conflict, heartbreak and sudden bursts of humor. Here's perhaps my greatest compliment of the film: when the closing credits began to roll, I thought, that's too bad, I'd like to spend some more time with these characters.
Isn't that what it's all about?
** John Frascella's Score: 9 out of 10 **
Those questions many of us have contemplated are the areas in which Marriage Story shines. Sometimes its tone is a little all over the place - two screwball segments immediately come to mind, one of which lands in a major way - but Marriage Story's heart is in the right place.
Scar Jo is quite clearly a better and more well-rounded performer than Driver, but the latter remains interesting despite deficiencies. Sometimes he seems blank. Maybe that's Driver or the way he sees Charlie. Either way, it's an intriguing performance that can also seem aloof. At some points, Charlie is far too oblivious to the direction his divorce is headed. His naivety can be offensive because he's supposedly a pretty smart and talented guy. But hey, I nitpick.
Johansson is pretty special; it's interesting to chart her career. Lost in Translation introduced us to her in an understated capacity, but of course the film itself was an awards darling. Then, as she matured over the course of a few years, she stood on the shoulders of her sex symbol status; Vicky Cristina Barcelona and He's Just Not That Into You immediately pop to mind. But was that really her? Maybe she's always been a chameleon evolving with the times. Her was a great role for her, and we never see her face. Now, in Marriage Story, she seems a symbol of our time. Her look is completely different. She's an independent career woman suffocated by the shadow of an auteur ex-husband. Early on I wondered if she was a one-trick pony, but that wonder's long gone now. For the most part, Scarlett Johansson can be whomever she wants to be. That's as close to saying "she's a great actress" as I'm willing to go.
In the head to head, Marriage Story and The Irishman are dramatically different. Neither are plot-driven, but The Irishman follows a somewhat traditional mob story arc. Marriage Story, as you've probably come to realize by now, is character-driven and character-centric. I like the characters in both films. I like the performances in both films, too. We're really splitting hairs, here.
In the end, Marriage Story combines conflict, heartbreak and sudden bursts of humor. Here's perhaps my greatest compliment of the film: when the closing credits began to roll, I thought, that's too bad, I'd like to spend some more time with these characters.
Isn't that what it's all about?
** John Frascella's Score: 9 out of 10 **
MY UP-TO-DATE ARCHIVE OF ALL REVIEWS AND SCORES
(The Top 200 series will continue, but the list below includes ALL of my past reviews and scores.)
1. Inglourious Basterds (10/10) - Review Coming Soon
2. The Irishman (9.5/10)
3. Up in the Air (9.5/10)
4. Steve Jobs (9.5/10)
5. Django Unchained (9.5/10) - Review Coming Soon
6. Collateral (9.5/10)
7. No Country for Old Men (9.5/10)
8. The Wrestler (9.5/10)
9. The Drop (9.5/10)
10. Zodiac (9.5/10)
11. Kramer vs. Kramer (9.5/10)
12. Margin Call (9/10)
13. Office Space (9/10)
14. The Hateful Eight (9/10) - Review Coming Soon
15. Marriage Story (9/10)
16. Hannah and Her Sisters (9/10)
17. Mystic River (9/10)
18. L.A. Confidential (9/10)
19. Lady Bird (9/10)
20. Stay (9/10)
21. Gone Girl (9/10)
22. Nocturnal Animals (9/10)
23. 45 Years (9/10)
24. The Edge of Seventeen (9/10)
25. Bernie (9/10)
26. Lucky Number Slevin (9/10)
27. Tape (9/10)
28. A Perfect Murder (9/10)
29. Wanderlust (8.5/10)
2. The Irishman (9.5/10)
3. Up in the Air (9.5/10)
4. Steve Jobs (9.5/10)
5. Django Unchained (9.5/10) - Review Coming Soon
6. Collateral (9.5/10)
7. No Country for Old Men (9.5/10)
8. The Wrestler (9.5/10)
9. The Drop (9.5/10)
10. Zodiac (9.5/10)
11. Kramer vs. Kramer (9.5/10)
12. Margin Call (9/10)
13. Office Space (9/10)
14. The Hateful Eight (9/10) - Review Coming Soon
15. Marriage Story (9/10)
16. Hannah and Her Sisters (9/10)
17. Mystic River (9/10)
18. L.A. Confidential (9/10)
19. Lady Bird (9/10)
20. Stay (9/10)
21. Gone Girl (9/10)
22. Nocturnal Animals (9/10)
23. 45 Years (9/10)
24. The Edge of Seventeen (9/10)
25. Bernie (9/10)
26. Lucky Number Slevin (9/10)
27. Tape (9/10)
28. A Perfect Murder (9/10)
29. Wanderlust (8.5/10)
30. War Dogs (8.5/10)
31. The Founder (8.5/10)
32. Jackie Brown (8.5/10) - Future Review
33. In Bruges (8.5/10)
31. The Founder (8.5/10)
32. Jackie Brown (8.5/10) - Future Review
33. In Bruges (8.5/10)
34. Split (8.5/10)
35. Bad Moms (8.5/10)
38. Moonlight (8/10)
39. Pretty Woman (8/10)
40. Kill Bill: Vol. 1 (7.5/10) - No Review Available
41. Kill Bill: Vol. 2 (7.5/10) - No Review Available
42. Three Billboards Outside Ebbing, Missouri (7.5/10)
39. Pretty Woman (8/10)
40. Kill Bill: Vol. 1 (7.5/10) - No Review Available
41. Kill Bill: Vol. 2 (7.5/10) - No Review Available
42. Three Billboards Outside Ebbing, Missouri (7.5/10)
49. 10 Cloverfield Lane (7/10)
50. Loving (7/10) - No review available
51. Death Proof (7/10) - No review available
52. Hail, Caesar! (7/10) - No review available
53. Once Upon a Time... In Hollywood (6.5/10)
54. A Most Violent Year (6.5/10) - No review available
55. The Shape of Water (6/10) - discussed in this review
56. The Boy (6/10) - No review available
57. The Accountant (6/10) - No review available
58. Bridge of Spies (6/10) - No review available
59. The Firm (6/10) - No review available
60. Muhammad Ali: Say My Name (6/10) - No review available
50. Loving (7/10) - No review available
51. Death Proof (7/10) - No review available
52. Hail, Caesar! (7/10) - No review available
53. Once Upon a Time... In Hollywood (6.5/10)
54. A Most Violent Year (6.5/10) - No review available
55. The Shape of Water (6/10) - discussed in this review
56. The Boy (6/10) - No review available
57. The Accountant (6/10) - No review available
58. Bridge of Spies (6/10) - No review available
59. The Firm (6/10) - No review available
60. Muhammad Ali: Say My Name (6/10) - No review available
61. Joy (5.5/10)
62. Taking Lives (5.5/10) - No review available
62. Taking Lives (5.5/10) - No review available
63. La La Land (5.5/10)
64. Pulp Fiction (5.5/10) - Future Review
65. The Visit (5/10) - discussed in this review
66. The Mule (5/10) - No review available
67. 13 Hours: The Secret Soldiers of Benghazi (5/10)
68. Make Love Great Again (5/10) - No review available
69. Molly's Game (5/10)
70. Set It Up (5/10)
71. Get a Job (5/10) - No review available
72. The Interpreter (5/10) - No review available
73. Eric Clapton: Life in 12 Bars (5/10) - No review available
74. Reservoir Dogs (4.5/10) - Future Review
75. Mike and Dave Need Wedding Dates (4.5/10) - No review available
76. Brooklyn (4.5/10) - discussed in this review, and this review
77. Ocean's 8 (4/10)
78. Everything Must Go (4/10) - No review available
79. Why Him? (3.5/10) - No review available
80. The Program (3/10)
81. Open Water 3: Cage Dive (3/10) - No review available
82. Pitch Perfect 3 (2/10)
83. Shut In (2/10) - No review available
84. Premonition (2/10) - No review available
64. Pulp Fiction (5.5/10) - Future Review
65. The Visit (5/10) - discussed in this review
66. The Mule (5/10) - No review available
67. 13 Hours: The Secret Soldiers of Benghazi (5/10)
68. Make Love Great Again (5/10) - No review available
69. Molly's Game (5/10)
70. Set It Up (5/10)
71. Get a Job (5/10) - No review available
72. The Interpreter (5/10) - No review available
73. Eric Clapton: Life in 12 Bars (5/10) - No review available
74. Reservoir Dogs (4.5/10) - Future Review
75. Mike and Dave Need Wedding Dates (4.5/10) - No review available
76. Brooklyn (4.5/10) - discussed in this review, and this review
77. Ocean's 8 (4/10)
78. Everything Must Go (4/10) - No review available
79. Why Him? (3.5/10) - No review available
80. The Program (3/10)
81. Open Water 3: Cage Dive (3/10) - No review available
82. Pitch Perfect 3 (2/10)
83. Shut In (2/10) - No review available
84. Premonition (2/10) - No review available
85. Rings (1.5/10)
86. Mother's Day (1.5/10)
87. I'll Always Know What You Did Last Summer (0/10) - No review available
86. Mother's Day (1.5/10)
87. I'll Always Know What You Did Last Summer (0/10) - No review available
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