MARGOT AT THE WEDDING
Originally appeared in Verbicide issue #22
Scott Rudin Productions
92 min., dir. by Noah Baumbach, with Nicole Kidman, Jennifer Jason Leigh, and Jack Black
If Margot At The Wedding, the new comedy/drama from director Noah Baumbach, receives any Oscar and/or Golden Globe nominations this coming year, it had better be exclusively for acting. An unfulfilling storyline and a directorial style that tries far too much to look sophisticated are saved by superb acting from the entire cast. Thanks mainly to Jack Black, “Margot’s” end result is an entertaining way to spend 90 minutes instead of a complete waste of the moviegoers time.
The film centers around the title character of Margot (Nicole Kidman), a no-nonsense, quick to criticize, short story author. Margot’s free-spirited sister, played by Jennifer Jason Leigh, has recently announced her marriage to be to the underachieving “artist,” Malcolm (Black). With her early teen son Claude (newcomer Zane Pais), Margot visits her sister’s household and brings with her a siege of neurosis and dysfunction.
The numbers will show you that flicks centered upon dysfunctional families are usually a strong source for some hearty laughs. Although we may be hesitant to admit it, these movies speak directly to us when we look past the characters on screen to our own family’s hopeless bickering. But this is where Margot At The Wedding’s ultimate weakness may lie. Each character, with the exception of Claude, whose awkward age is a perfect excuse to be utterly confused, is so insecure and unstable that our own experiences fail to make any meaningful connection. Unless there are reoccurring cases of severe schizophrenia in your family tree, I would be greatly surprised if you could side with any of the parties represented in this movie.
Of course, it is entirely possible to create a film around characters who would be utterly despised in real life (Jack Nicholson as the nasty Melvin Udall in As Good As It Gets, for instance). And for the first half of Margot At The Wedding, it works as well. Margot’s tense nature contrasted against Pauline’s out-there attitude promises some kind of payoff, as does the chance that Malcolm will get his act together. But once you think ties may be starting to form between the family members, yet another catastrophe is worked into the ragged storyline, interrupting any potential progress for character growth. Unlike Melvin Udall, who in typical movie fashion realizes the folly of his ways, it appears no one has changed when the end credits of Margot At The Wedding roll. Which leaves you staring at the black screen asking: why did I watch that?
As stated before, the answer lies completely in the actors’ hands, beginning with Nicole Kidman. Rising to the challenge to portray the near loony Margot, audiences will find it easy to hate her with a passion. Keeping up with the veteran Kidman is the young scene-stealing Pais, who establishes himself as a face to look for in upcoming films. But no one can seem to outdo Black, who may be significantly more toned down than in other roles, but sad clowns have never been funnier as Black delivers his lines with the comedic perfection of a total pro. Add Leigh’s flawless free bird and even a cameo by John Turturro, and you’ve got more than enough reason to make this your decision as you scan the marquee.
I’m fully aware that people, especially older people, often fail to change even for the better. So if you’re going to create art that imitates life in this matter, I suppose a character that doesn’t change would certainly be realistic. However, if a viewer is going to spend 90 minutes with a character….shouldn’t you see something at the conclusion? Even tragedies involving negative changes are more fulfilling to watch. I had the same thoughts after watching the highly praised Half Nelson and now am starting to tire of the “indie” approach of no-ending endings. I can only hope that independent filmmakers will remember that what you say is as important as the “offbeat” style of how you say it.
