(2019) Drama (Roadside Attractions/Screen Media) Annette Bening, Bill Nighy, Josh O’Connor, Alysha Hart, Kadrolsha Ona Carole, Nicholas Burns, Rose Keegan, Ryan McKen, Nicholas Blane, Ninette Finch, Derren Litten, Sally Rogers, Steven Pacey, Joel MacCormack, Jason Lines, Finn Bennett, Anne Bryson, Tim Wildman, Susan Tune, Joe Citro, Dannielle Woodward. Directed by William Nicholson
Not every marriage is eternal. Some come to an end prematurely; some after a short amount of time as the couple discovers that marriage was a terrible idea for the two of them, while others occur after years of marriage.
Grace (Bening) and Edward (Nighy) are days away from their 29th anniversary. Outwardly, they seem as comfortable together as two old shoes, but there are cracks showing. Edward is distracted, almost shut down; he barely acknowledges Grace. She badgers him, trying to get some sort of reaction from him. She senses something is wrong, but can’t fathom what it is.
Edward manages to coax their adult son Jamie (O’Connor) to their seaside home in Sussex from London. However, he has an ulterior motive; he tells Jamie that he has fallen in love with another woman and is leaving Grace. At first, Jamie is dumbstruck; he can’t believe it. But eventually he is convinced that Edward means to go through with it. And so Edward does.
Grace still loves Edward and is sure that this is just a phase, and that he will soon come to his senses and come home, but it becomes apparent that Edward is gone for good. She gets alternately despondent, angry and bitter. Jamie is caught in the middle, serving as mediator and messenger, soon realizing that he is slowly developing the same malaise that overtook his father, while as he gets to see his mother as a person rather than just a parent, understands that he never really knew her at all.
Movies about divorce are not uncommon, and often prove to be fodder for some compelling films (i.e. Kramer vs. Kramer, An Unmarried Woman, last year’s Marriage Story). Some critics have complained that there isn’t a lot here that’s original, which I suppose has some merit until you realize that this is based on the divorce of writer/director Nicholson’s parents. I imagine it seemed terribly original to him.
What the rest of us are left with are a quest for insight; how would we handle this? Would we ever do something like this to our partner? Could someone who seemingly have the perfect marriage just watch it collapse around them? For this kind of movie to work it has to be relatable; it has to have a frame of reference that makes it compelling to the viewer. I don’t know that the insights raised here are going to resonate deeply with everyone.
That’s where some wonderful performances come in. In Bening and Nighy, we have two often underrated pros who are both about as good as anyone in the business. Nighy plays Edward as the very definition of “doddering,” he seems lost in his own home, a schoolteacher who is obsessed with historic events that happened over two centuries ago (Napoleon’s retreat from Moscow) and seems to be more in tune with the past than he is present.
I often forget how good Bening is until I see her latest film, and then I fall in love with her (as an actress) all over again. Despite a kind of dodgy British accent, she nonetheless nails her role here, giving Grace depth and edge. Often, she is almost intolerable to be around; she is confrontational, occasionally bitchy and uncompromising but it becomes clear that she is as lost in her own way as Edward is. Bening can convey more with a single glance than most actors can with pages of dialogue.
On top of the terrific performances there is some lovely cinematography of windswept beaches and the charming coastal village of Seaford where this was filmed. American audiences, though, may find it ponderous and slow-moving, the curse of the short-attention-span-afflicted Yank. In our defense, we watched too many music videos and video games growing up to accumulate the patience to, say, read a book, let alone watch a movie that requires some concentration as well as some commitment. But, sad for us Americans, the best films almost always require both.
REASONS TO SEE: Bening and Nighy are both masters of their craft.
REASONS TO AVOID: Slow and ponderous.
FAMILY VALUES: There is some brief profanity as well as adult themes.
TRIVIAL PURSUIT: The film is based on and expanded upon Nicholson’s play The Retreat from Moscow which in turn is based on his parents’ own divorce.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 5/13/20: Rotten Tomatoes: 62% positive reviews, Metacritic: 58/100
COMPARISON SHOPPING: 45 Years
FINAL RATING: 6.5/10
NEXT: The Mentor