So, I set my alarm clock for 3:01am this morn’, as this was the time Baumbach’s new one ‘MARRIAGE STORY’ was set to drop into Eastern Time’s streaming hemisphere (Netflix). I have a strange relationship with Noah Baumbach and his workload. I’ve met him and Greta many times at screenings and out around the city, and have an affinity to their interesting careers for some bizarre reason (it may just be the INDIE vibe about the two). I don’t really like the guy, but I respect him, and his work and he knows this. So much hoopla has been said about this movie and its hype has not dispersed to date, as it intends to remain relevant before the Academy begins making its Oscar nomination selections. Does it deserve some Oscar nods? Yes. Was it good? Yes. Is it a masterpiece as some have proclaimed?, NOPE. Robert Benton’s KRAMER VS KRAMER was a masterpiece on this subject matter, not this, as the child ‘caught in the middle’ was more of a human being in that one than a tug of war device, as it appears in this one. In my opinion, he made this same movie already with SQUID AND THE WHALE, and this feels like his Millennial reboot of that great film of his that had placed him on the map back in the 90’s. There is this thing that you’re taught (drilled into you actually) in film school, ‘write what you know’ and this is what he did with SQUID. SQUID was Noah’s angry vomiting about his life experience growing up within the divorce of his folks and his residual anger against his mother that motivates him , to date. All of SQUID’S characters are essential and well developed, where in MARRIAGE an ensemble of top grade actors end up playing caricatures of professions (and even caricatures of themselves, i.e. Ray Liotta) that rely on Chaplin-like mute body-language comedy to fill in the blanks. The story could have been easily a two-person stage play, and worked beautifully that way, much like the greatest moments of Cassavetes’ OPENING NIGHT. This movie does merit multiple viewings, and this blog reaction here is an immediate one. The power of MARRIAGE STORY lies in the script, and this is and has always been the strength of Noah, he is a writer at heart who simply loves movies. He sometimes reminds me of a Tarantino-type movie buff who got a lucky chance in Hollywood, caught a wave, and is riding that sucker as long as the tide allows. I do not believe this film is about him and his real-life divorce from Jennifer Jason Leigh at all, I believe it is his creative prediction of what could (and probably will) happen between him and GRETA GERWIG as her career continues to blossom (her new film LITTLE WOMEN is being released this month). Despite the flaws this film has in it’s mess of unnecessary characters that endlessly deliver meticulous expository dialogue, every moment between the two main stars is strong, moving, believable and will bring on the tears as the desperation these two actors (Scarlett and Adam) so perfectly interpret from the script is dead on good. Scarlett’s delivery of perennial disdain for Adam’s character is tangible, yet never ending. I feel this movie should get a Best Screenplay nod (and award) in addition to Adam Driver getting a Best Actor nod (and potential trophy). The musical score is manipulative, but does the job in telling us exactly how we should be feeling. I applaud NETFLIX for financing this great movie, and look forward to seeing Adam and Joaquin Pheonix fight it out for that Oscar prize 2020. Noah will win something for this one, just not sure what yet… and hopefully it won’t be a second divorce. Be careful Noah, self-fulfilling prophecies have proof in their puddings.
SPOILER ALERT: This movie was shot on 35mm while using a virtually deceased 1:66 aspect ratio- which is really great. Oh yeah, and the movie has a happy Lifetime Movie ending. Sadly enough.
