The Words


The Words

Bradley Cooper tries to explain to Zoe Saldana why she can’t be in The Hangover III

(2012) Drama (CBS) Bradley Cooper, Zoe Saldana, Jeremy Irons, Dennis Quaid, Olivia Wilde, Ben Barnes, Nora Arnezeder, Ron Rifkin, John Hannah, J.K. Simmons, Michael McKean, James Babson, Brian Klugman, Zeljko Ivanek, Elizabeth Stauber. Directed by Brian Klugman and Len Sternthal

 

Writing is near and dear to my heart. I am fascinated by words and like to use a lot of big ones. I don’t apologize for that. Communication is my job and I like to be precise about it. Still, as I’m fond of saying, I don’t write because I want to; I write because I have to. Those who write for a living will tell you that they didn’t pick their particular career choice; it chose them.

Clay Hammond (Quaid) is reading from his latest best seller. A comely grad student named Daniella (Wilde) approaches him from the audience and asks him for more detail about his story than he had given during the reading. Clay, who is separated from his wife, is a little tipsy and responds to the flirting. He starts to tell her about it.

Rory Jansen (Cooper) has dreams of being a writer. He works for three years on a novel, pouring out his heart. It’s good, he’s told but not great. He, like many struggling writers, begins to collect rejection slips like Bed, Bath and Beyond coupons. His girlfriend Dora (Saldana) is supportive; his dad (Simmons) not so much, although there is clearly affection between them. It’s just that dear old dad wants his son to grow up and take responsibility, understanding that not every dream is achievable.

Rory and Dora (which sounds a bit like a preschoolers cartoon – couldn’t you have come up with better names than that?) eventually get married and wind up honeymooning in Paris (which is a bit pricey for struggling young newlyweds but let’s assume they got it as a gift) and while antique hunting Dora finds a beautiful old valise which she buys for Rory to use at his new job in the mailroom at a literary agency.

Still, Rory is depressed about his stalled career and wonders if he has the talent to be somebody. His depression begins to create a gulf between him and his friends and even between him and Dora. Then Rory finds a manuscript in the valise, one that has been sitting there for a long while. He begins reading it. He can’t put it down. It’s almost like a slap in the face; here is the novel he’s always wanted to write and someone else has written it. He becomes obsessed with it. He wants to know what it would be like to write something like that, so he takes the typewritten manuscript and types it, word for word including the misspelled words, into his laptop. He leaves it there and forgets about it.

But Dora finds it. She insists that he take it to an agent so he does. The agent (Ivanek) loves it. It gets published. The little book becomes a sensation. At first Rory feels guilty over plagiarizing the work but reasons that it was a means to an end; the novels he couldn’t get published now have deals and all due to this forgotten manuscript. He wins awards and becomes rich. His relationship with Dora becomes stronger.

One day while reading on a bench in Central Park, an old man (Irons) sidles up and sits nearby. The old man recognizes him and gets his copy of the book autographed. Then the old man tells him a story; the story of a young man (Barnes) in Paris after World War II. The young man becomes smitten with Celia (Arnezeder), a waitress in a sidewalk cafe. She falls in love with him. They marry but after a tragedy they separate. He becomes disconsolate without her. He writes a book, one he pours all his heart and soul into. The words flow out like a river. It is finished in two weeks.

He sends it to her and she reads it. She’s amazed and agrees to come home. Unfortunately, the valise she put the novel in got left aboard a train. It disappears – and it’s absence comes between the young man and Celia just as surely as a brick wall would.

The line between fiction and fact blurs a little in The Words. It isn’t about writing so much, although the demon in Rory that compels him to write, that compels him to be adored for it, is one I know all too well. But this is a story about guilt and how it gets into a relationship insidiously destroying it from within. It destroys people as well.

The three stories are all interrelated, but which ones are true and which ones are fantasy are pretty much left up to the interpretation of the audience (my take? All three). It is a story inside of a story within a story which while not an original means of telling a story is nonetheless not an easy one and takes a deft hand to pull off, which it is here.

It helps to have some strong performances from the male leads, and the filmmakers get them. Irons is one of those actors who looks and sounds great even when uttering banal lines. He’s memorable when onscreen and his scenes with Cooper are among the best in the movie. Quaid also has some fine moments although he is little more than a framing device. Still, there’s some thought and depth to his character.

The women don’t fare as well – Saldana gets the most screen time among them but for the most part the women in the movie aren’t developed quite as well as the men are. They are entirely reactive and serve either as ornaments or as plot devices. It’s not a commentary on them as actresses; more of a commentary on the writing.

It is meant to be literate and there is a bit of the hoity toity “writers are special” attitude that movies about writers sometimes get. And, as a movie about words, there are a lot of them. Much of the action moves through dialogue and there are voiceovers throughout. And while you may not see everything coming (to their credit the filmmakers refuse to spell things out although you can pretty much figure things out) the story isn’t what you’d call ground-breaking.

Still this is a smart movie that also appeals to the heart. The Old Man is a figure you will have a great deal of sympathy for, even though much of his dilemma is of his own making. I have to say I was inspired to go and do some writing after seeing this, even though that’s something I do every day. Writing movie reviews is one thing. Writing something that counts, something that means something to somebody and gives them insight to life or at least their own soul – that’s an entirely different thing.

REASONS TO GO: Thoughtful and literate. Inspires me to write. Fine performances by Irons, Quaid and Cooper.

REASONS TO STAY: Overly talky. Story is a bit been-there done-that.

FAMILY VALUES: There is some fairly rough language in certain places.

TRIVIAL PURSUIT: Rosamund Pike was considered for the role of Daniella but it eventually went to Olivia Wilde.

CRITICAL MASS: As of 9/25/12: Rotten Tomatoes: 17% positive reviews. Metacritic: 37/100. The reviews are horrible.

COMPARISON SHOPPING: The Hoax

ERNEST HEMINGWAY LOVERS: The book that inspires the Young Man to writing is Hemingway’s The Sun Also Rises.

FINAL RATING: 7/10

NEXT: The Jackal

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