After Martin Scorsese, Noah Baumbach… Netflix continues to confuse and raise the question with increasing violence; Where is the cinema?
My personal answer is, wherever the movies are, I think. As I watched the Marriage Story, I watched Kramer Against Kramer (1979) on a 55-screen tube TV that came to my mind almost every moment. Salon romance is a strong feeling, but the movies that matter are the ones that shoot them. Netflix’s support for masters or powerful representatives of modern cinema is getting less and less on the salon side. In the 80s, the horny representatives of entertainment cinema, which exploded like a volcano in the hands of talented filmmakers such as S. Spielberg, G. Lucas, R. Zemeckis and J. Dante, have now completely seized the halls. You almost say, the last refuge is Netflix.
Marriage Story is a separation story that an intellectual couple, Charlie and Nicole, who are well-trained and have brought their talents to, are trying to get away with the mercilessness of lawyers. The couple has a small child, her name is Henry, and she is a smart and highly aware child, just like her parents. It’s easy to share the house, items, money, but how do you share your son?
Henry’s custody actually turns two people who can leave quietly, return to their own lives, or repair the relationship and continue on their way, to enemies fighting in the Ardennes. Instead of understanding, talking and agreeing with each other, they are constantly ditching, wearing bayonets, and attacking, with a wave of anxiety raised by lawyers.
While the film shows these two-man war and its progressives for two hours, it is actually our main problem, focusing on our disaster not being able to communicate properly. The debate, confessions, nervous breakdown and subsequent amnesty that Charlie and Nicole experience when they get rid of lawyers and start talking in a room underlines that they should only be between two people, even when the marriage ends.
At the beginning of the article, the movie told me Kramer vs. I said you reminded Kramer. In that movie, the story was completely on the male character’s side. We were hurting Ted, played by Dustin Hoffman, hating his wife. Noah Baumbach does not seem to have chosen a side, but when I read the story through the lawyers who are as influential in the course, not the characters, I can say that the director is emotionally on Charlie’s side. Laura Dern’s interpretation of Nicole’s lawyer Nora takes the audience to Charlie’s side in every sequence she is. Charlie deceived his wife, but the director almost seems to defend or fend for the “man makes” level.
Again, if we compare it to a war, it seems that the attacker is Nicole, and the defensive position is Charlie. In the process of divorce, Charlie loses his power, becomes lonely. Nicole gets stronger and gets out of the lantern where Charlie closes her and gets crowded. That Charlie is having fun at home party and developing a personal relationship with his lawyer right after the sequence he faces social security officer… Unlike Nicole, Charlie has no friends who are eager to listen to her separation problems. For example, when he realizes that he is not resting in the bar sequence and starts to sing and suddenly sings with this song… This is my favorite sequence in the movie.
Just after watching, I thought what happened to me that made me love the movie so much? A movie that I have seen similar works with, and not surprising with the story, I do not watch Adam Driver in the role of the oppressed husband for the first time, although he plays much better than in the movie Hungry Hearts, but I love the movie! And finally I found it; Noah Baumbach made the film not for the box office, but for the audience who is fond of cinema, just like Charlie directed his plays.
The movie is in no hurry, the actors are comfortable, they do not play in Star Wars or Avengers, they do not act, they do not try to look charismatic. They play the way they want and miss, push their limits. There is no problem with time. The choice of music is comfortable. The control of everything seems to be in the hands of the filmmaker, the studio (Netflix) gave the money and stepped aside. This creates such a valuable and enjoyable movie to watch. Thanks to Netflix, it seems that we will encounter talented filmmakers with money, just like in the 70s. Frankly, I am happy with this, I was very bored with the faint jobs supported by stump funds.
The last frame of the movie marks this; the child is not actually something that can be shared, it is a separator, not a separator, a little bit of you a little bit of it. Ultimately, it is something that will force you to communicate and establish a minimum relationship, child. Do not fight to take over, stay peaceful even if you leave. Netflix reopened the famous Paris Theater for this movie. While Darling cinemas are closed from spectators, they find life water with digital platforms, what strange things… Watch in the best conditions you can find, have a good time.
All about Marriage Story movie.
Marriage Story (2019)
Directed by: Noah Baumbach
Starring: Adam Driver, Scarlett Johansson, Julia Greer, Wallace Shawn, Azhy Robertson, Matthew Maher, Mickey Sumner, Jasmine Cephas Jones, Motell Gyn Foster, Mary Wiseman, Pete Simpson
Screenplay by: Noah Baumbach
Production Design by: Jade Healy
Cinematography by: Robbie Ryan
Film Editing by: Jennifer Lame
Costume Design by: Mark Bridges
Set Decoration by: Lizzie Boyle, Nicki Ritchie, Adam Willis
Art Direction by: Andrew Hull, Joshua Petersen
Music by: Randy Newman
MPAA Rating: R for language throughout and sexual references.
Distributed by: Netflix
Release Date: December 6, 2019
Views: 314
