(2021) Drama (Bleecker Street) James McAvoy, Sharon Horgan, Samuel Logan. Directed by Stephen Daldry and Justin Martin
The pandemic is, in some ways, a screenwriter’s dream. It is a situation everyone on the planet is affected by, something we all can relate to. As more and more movies come out set during lockdowns and quarantines, the question becomes whether we are exploring the topic too soon (as even now we are suffering through a surge in Delta variant cases) or whether what we have to say at this point is premature.
A brief rant before I commence – I have always found the trope of not naming the characters to be more pretentious than anything. Yes, I get that they are supposed to be “everymen” and “everywomen” for the sake of the narrative, but it’s more or less a cop-out these days. Give your characters names, and not just for the convenience of the critics either – it’s disrespectful to the audience. End rant.
An unnamed couple (grrr!), played by Horgan and McAvoy, are thrown together by the lockdown in England. They are an upper middle class couple who couldn’t be more different; he’s a conservative entrepreneur who doesn’t have much use for what he calls “the chattering class,” while she’s a progressive liberal who is an executive for a non-profit. But they have a young ten-year-old special needs kid named Artie (Logan) together, and – not for nothing – they hate each other’s guts. The only thing keeping them from going their separate ways is Artie.
The movie takes place from day one of the English lockdown into the spring of 2021. Things are divided into chapters which are delineated by what day of the lockdown it is, and how many deaths from COVID have been recorded in England by that date, which seems to be a not-so-veiled swipe at the Boris Johnson administration (it gets not-so-veiled during a Horgan monologue later in the movie).
Most of the dialogue is delivered at the camera, as if you’re a friend or relative on Zoom, and the couple are making their case for why the other one is the reason the marriage is in trouble. That is punctuated with often heart-rending monologues – in Horgan’s case, the absolutely horrific treatment her mother receives in a care home, while in McEvoy’s an encounter with an anti-masker that causes him to rethink things.
The acting here is superb. Given dialogue that is worthy of Aaron Sorkin. There is some snappy repartee and plenty of back-and-forth between the couple, who are often talking over each other in the way that couples do. That gives the film a kind of naturality that brings more authenticity to the movie than it otherwise might have. The screenplay was originally meant to be a stage play, but the practical complications of mounting a stage production during a pandemic led this to be turned into a movie, but it still retains some of its stage-y qualities. You don’t really notice them, however, because the acting and writing are both so damn good.
I’m not sure if this will end up being a time capsule of this period in history, or something that speaks to deeper truths in relationships. I tend to subscribe to the latter; there is a timelessness about the issues between the couple that are only framed by the pandemic rather than are caused by it. I was completely blown away by the emotional resonance that the film brought and recommend it thoroughly as one of the best movies of the year. If ever you needed an excuse to get out to the theaters, this movie is it.
REASONS TO SEE: Superior writing and direction. Natural performances from Morgan and McElroy, who is particularly impressive. A powerful, emotional time capsule of 2020-21.
REASONS TO AVOID: Not so sure using a pandemic as couples therapy is appropriate.
FAMILY VALUES: There is profanity throughout.
TRIVIAL PURSUIT: The film was shot in only ten days.
CRITICAL MASS: As of 8/29/2021: Rotten Tomatoes: 68% positive reviews; Metacritic: 57/100.
COMPARISON SHOPPING: Scenes from a Marriage
FINAL RATING: 9/10
NEXT: The Fatal Raid