(2010) Romantic Comedy (Overture) Phillip Seymour Hoffman, Amy Ryan, John Ortiz, Daphne Rubin-Vega, Thomas McCarthy, Lola Glaudini, Richard Petrocelli, Salvatore Inzerillo, Harry L. Seddon, Shawna Barmender. Directed by Phillip Seymour Hoffman
Who can say why two people that shouldn’t be together end up that way, while two people who should be together don’t. The mysteries of human interrelationships would baffle Steven Hawking (and probably does) since so much of it is inexplicable. There are no scientific formulas to explain the human heart.
Jack (Hoffman) is a mild-mannered limo driver for his uncle’s (Petrocelli) company. His best friend is Clyde (Ortiz) whom he’s known since they were kids. Jack has ambitions to work for the MTA in New York City (where they live) but nobody really believes he can pass the test needed to become an MTA driver. Jack lives alone, has no girlfriend and most of his social life revolves around Clyde and his girlfriend Lucy (Rubin-Vega). Lucy, while fond of Jack, doesn’t want him around quite so much and thinks a girlfriend would be just the ticket to give him a life of her own.
Lucy works at a funeral home with Connie (Ryan), a woman who might just be as shy as Jack is. Like Jack, she is alone (although not nearly as dependent on others as Jack is). Clyde and Lucy decide to get the two together.
Surprisingly they get on very nicely and Connie remarks to Jack that she wants to go boating in Central Park. Since it’s the beginning of winter, that indicates an interest in a long term relationship. However Jack doesn’t particularly want to go boating – he can’t swim. Clyde offers to teach Jack how to swim, since Jack is eager to continue seeing Connie.
Jack also wants to cook Connie a meal in the meantime, which is quite an undertaking for a guy who doesn’t know how to microwave popcorn. He gets some lessons but when the big dinner date arrive (Clyde and Lucy are also invited), things go horribly awry. Still, Jack and Connie seem to get closer and closer – and as they do, Clyde and Lucy begin to drift farther and farther apart.
Not only does Hoffman appear in this as the lead actor, but he also directed the movie (based on Robert Glaudini’s stage play of the same name – Glaudini also wrote the screenplay) which is difficult enough. He is in nearly every scene and is the center of the action. That can be good and bad; while Jack is out to improve himself and improve the quality of his life, he is taking baby steps for the most part; for the audience viewing this it can be downright irritating.
I’m not saying watching a shy man change his life is inherently boring – it’s not – but as depicted here the more interesting characters tend to be the ones on the periphery. Clyde, Lucy and Connie all held my attention more readily than Jack did, a bad sign.
Still, the movie has a sweet charm to it that helps offset the lack of inertia. Hoffman does shy and awkward as well as anyone, and he does it here nicely. Jack isn’t the brightest bulb in the chandelier but he has a good heart. Connie is much smarter than he is but just as socially awkward. Ryan gives her a sweet and sexy quality that is self-conscious but totally believable.
Ortiz for me was the most interesting performance. A little bit smarmy, totally 100% New York, Clyde has the best of intentions but is derailed by his own failings. His heart is in the right place but he can’t get past his weakness for marijuana, nor his jealousy of Lucy’s past infidelities.
There is a scene near the end of the movie when the two couples are at Clyde and Lucy’s apartment which is as awkward as any I’ve ever seen in a movie (awkward in a good way). It is the most powerful scene in the movie and as Connie tries desperately to pull Jack away from the train wreck that is occurring, you are right there with her. It is in this moment where Hoffman shows the potential of being a really good director.
This isn’t a movie that’s going to reveal a lot of new insights into love or life; it’s just a look inside two relationships and four lives. It does give a sense of how it is to live and work in New York, which is always welcome. It also is charming and sweet at times, awkward and irritating at others. Just like real life.
WHY RENT THIS: The relationships are believable and the one between Jack and Connie is sweet.
WHY RENT SOMETHING ELSE: The movie lacks inertia.
FAMILY VALUES: There’s a bit of cursing, a smidgeon of drug use and some sexuality.
TRIVIAL PURSUIT: Hoffman originated the role of Jack in the stage production.
NOTABLE DVD EXTRAS: There’s a featurette on how the process of adapting the movie from a stage play into a film.
BOX OFFICE PERFORMANCE: $619,570 on an unreported production budget; the movie was most likely a flop.
FINAL RATING: 5/10
TOMORROW: 30 Minutes or Less