Marriage Story – first look review | Little White Lies

Festivals

Mar­riage Sto­ry – first look review

29 Aug 2019

Words by David Jenkins

Three people sleeping on bed, one person in foreground, two in background.
Three people sleeping on bed, one person in foreground, two in background.
Noah Baum­bach returns with an epic com­e­dy about the absurd and bit­ter busi­ness of end­ing a once-bliss­ful marriage.

This is a bit of a strange one, but the film that came to mind while watch­ing Noah Baumbach’s pun­ish­ing­ly inci­sive dis­sec­tion of a messy break-up and divorce was not Ing­mar Bergman’s Scenes from a Mar­riage – which is even name-checked as a framed mag­a­zine arti­cle on the wall of a New York apart­ment – but in fact Steven Spielberg’s Juras­sic Park. Yes, there is a lot of yelling, but the real rea­son for the con­nec­tion is that it is a film about how lawyers are sub-human scum and should, were it per­mis­si­ble in polite soci­ety, be fed to a long-extinct lizard mon­ster while at their most humil­i­at­ing­ly vulnerable.

Some con­text: Scar­lett Johans­son is Nicole, a one-time teen movie icon who decamped to the east and shacked up with avant garde the­atre direc­tor Char­lie, played by Adam Dri­ver. She found a sense of cre­ative reju­ve­na­tion as the lead actor in his off-broad­way doo­dles, while he was able to build a name for him­self as a tal­ent so white hot that even the cov­er of Time Out New York couldn’t say no. They became a cou­ple and had a boy named Hen­ry. They enjoyed one another’s quirks and built what, on the sur­face, appeared like a cosi­ly sym­bi­ot­ic union cen­tred on an undy­ing love for their son.

Baum­bach opens his film with the pair list­ing the small, sil­ly things that each part­ner loves about the oth­er. Even though the details picked up on sug­gest a lev­el of per­cep­tion that tran­scends a roman­tic fling gone wrong, it soon becomes obvi­ous that there is trou­ble in par­adise. His obses­sion with his job has sti­fled her ambi­tions, and cen­tral to every­thing is her desire to move to Los Ange­les – where they met, where they were mar­ried, where her fam­i­ly live and where their son was born. Plus, she’s been offered a part in a TV pilot and he is unable to com­pre­hend why she would ever coun­te­nance such an artis­ti­cal­ly mori­bund career move. It’s actu­al­ly sym­bol­ic of some deep­er need for free­dom, but he can’t see that.

It’s a sto­ry dri­ven by fine details and social minu­ti­ae, a lot of it look­ing like it was gleaned from mem­o­ry or anec­dote: there’s cer­tain­ly a sense that the writer-direc­tor has at least some first hand expe­ri­ence with the rocky ter­rain of divorce. There’s no scur­rilous inter­est to be found in attempt­ing to pick apart who the char­ac­ters are based on, as Baum­bach will always have the pre­rog­a­tive of fic­tion to cov­er his tracks.

And yet, it may explain why the film comes across as a with­er­ing cri­tique of male nar­cis­sism and psy­cho­log­i­cal tor­ment (Baum­bach sta­ples), and if Char­lie is indeed a man­qué for for the direc­tor, this real­ly is a 135 minute apolo­gia for years of ambi­ent neglect and short­sight­ed­ness. But tonal­ly, the film is most­ly upbeat: Adam Dri­ver makes for the nicest, friend­liest, most lov­able gaslighter in the his­to­ry of cinema.

Even though the scales of empa­thy are tipped towards Nicole, there is a com­mon ene­my, and that’s the lawyers. It’s an enter­tain­ing if obvi­ous con­ceit, as Baum­bach por­trays them as the con­duit for a malev­o­lent evil – it’s a job that involves look­ing for the worst in good peo­ple. Nicole retains the ser­vices of Nora (Lau­ra Dern), a glam­orous LA legal assas­sin who goes for the jugu­lar and then just keeps on stab­bing. In one sub­lime mono­logue, she even sug­gests that she would even have a sol­id line of argu­ment if it came to Mary suing God for parental rights to Jesus.

Char­lie, mean­while, hires Alan Alda’s mom n’ pop ex-enter­tain­ment lawyer, whose toothy grins, tor­tu­ous jokes and pas­sive bat­tle tech­nique end up get­ting him nowhere. So in comes Ray Liot­ta, who is will­ing to play Nora at her own game, and it’s knives out all the way. Even though the pair claimed to want an ami­ca­ble break, Char­lie is unable to accept that his demands for Hen­ry to return to New York are not accept­able to Nicole, and so mat­ters almost nat­u­ral­ly drift towards ugli­ness. Every moment the pair spend with each oth­er becomes anoth­er chance to land a below-the-belt punch in court.

Much of the first half of the film comes across as rather bit­ter, even as the reg­u­lar inclu­sion of goofy sight gags and the odd com­ic set bring a sense of lev­i­ty to its heavy themes. The writ­ing is suit­ably dense and lit­er­ate, though Baum­bach real­ly cher­ish­es the char­ac­ters as indi­vid­u­als – it nev­er feels as if Nicole and Char­lie are avatars for his own poet­ic mus­ings on the dif­fer­ences between love and fideli­ty. Mar­riage Sto­ry is at its best when it just the two leads talk­ing in a room – and what with them being in the process of split­ting up, that’s less often that could be hoped for.

But these are mere nig­gles, and all is for­giv­en and for­got­ten when you’re in the com­pa­ny of one of the great­est liv­ing com­ic actors – all hail Julie Hager­ty, utter­ly sub­lime as Nicole’s ditzy pant-suit­ed wine mom.

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