"Greenberg" Review

Greenberg, the titular character in Noah Baumbach's film, is socially inept. During most conversations, he becomes helpless and awkward as he struggles to connect with those around him. And when he does manage to engage in conversation, he explodes in bouts of bitter anger. Through "Greenberg," Baumbach and actor Ben Stiller manage to make the audience sympathize with a character that should be utterly unsympathetic.

The film follows Roger Greenberg, recently released from a mental hospital, as he stays at his vacationing brother's house in Los Angeles. While staying there, he tries to get back together with his ex (Jennifer Jason Leigh), reconnects with his best friend from college (Rhys Ifans), and meets Florence (Greta Gerwig), his brother's personal assistant.

Through these three relationships, the audience is introduced to Greenberg's social awkwardness. While having lunch with his ex, he brings up good memories from their past in hopes of wooing her back. She smiles and listens to Greenberg, but has no interest in getting into such a volatile relationship. Meanwhile, Greenberg's college buddie, Ivan, is having marital troubles. When Ivan seeks advice, Greenberg offers none, instead focusing on his own problems. And, finally, when he hits it off with Florence, he ruins their potential relationship by getting angry at her for petty reasons

But, Florence refuses to give up. After suffering through two superficial relationships, she wants something more. She notices Greenberg's vulnerability and wants to help him, but whenever she tries to, he pushes her away with his hostile behavior. Yet, Florence still sees Greenberg's pain. She realizes that people act hateful and angry for a reason.

As she wisely remarks late in the film, "Hurt people hurt people."

The film illustrates this point with delicate sincerity. It never judges Greenberg for his actions. It simply observes. Thankfully, the film ends on a positive note as Greenberg makes an attempt to reverse his selfish attitudes. Unfortunately, the film also ends too abruptly, not giving the audience enough insight to the final state of Greenberg and Florence's relationship.

Otherwise, "Greenberg" is a sharp character study that takes it time in detailing the fragile mind of its surly subject

B

Of "Ghosts" and "Wonderlands"

Here are some quick bullet points on a few films I've seen recently





"Alice in Wonderland"

• excellent, detail-heavy production design


• plagued by endless chase scenes and boring exposition


• Helena Bonham Carter delivers a delicious performance as the Red Queen - an evil diva who enjoys barking orders and watching decapitations


• Johnny Depp fares well as the Mad Hatter, but his relationship with Alice feels underdeveloped


• Overall, it feels like a compromised vision. Director Tim Burton made some quirky, weird hoices, but it never feels wholly "original." My guess is that the studio made him tone down his unique style.


• C+

"The Ghost Writer"

• boring, plot-heavy political thriller


• has very little to say about political corruption that isn't redudant, naive, or exaggerated


• way too focused on plot mechanics


• performances are merely so-so with the one exception being Olivia Williams as the irritable, intelligent wife of a corrupt former Prime Minister


• a very average film from director Roman Polanski ("The Pianist," "Chinatown")


• C

Simplicity

So, five months after my initial review, I find myself revisiting the Coen Brothers’ “A Serious Man.” The first viewing left me in a state of befuddlement and I spent nearly a month formulating an opinion on the film. Now, after a third viewing of the film, I can say it ranks very high in the quirky brothers’ distinguished filmography. Ultimately, in my opinion, the key to understanding the film comes from the Jewish adage which opens the film:

“Receive with simplicity everything that happens to you.” – Rashi

This wise adage can be applied to the unfortunate incidents within the life of Larry Gopnik, the film’s main character. Larry, a physics professor and devout Jew, finds his life spinning out of control as his wife divorces him, a disgruntled student bribes him for a better grade, and his eccentric brother Arthur moves in with the family. As the film progresses, Larry’s problems only worsen. His redneck neighbor disregards Larry’s property line. Larry’s son, Danny, complains about the fuzzy television, while his daughter, Sarah, is secretly planning to get a nose job.

Dumb-founded by his recent string of bad luck, Larry seeks help from his religion, his lawyers, and colleagues. Each gives him advice, most of it helpful, but Larry still cannot find any answer to his sufferings. The Junior Rabbi tells him to simply enjoy life and appreciate all that God has given us. For example, “just look at the parking lot.” Another Rabbi tells him just to wait it out. All of your problems will soon disappear, “kind of like a bad toothache.” The final, and most well regarded of the rabbis, gives the simplest response: “be a good boy.” Larry heeds their advice, but fails miserably in trying to apply them to his unfortunate circumstances.

While the Coens seem to recognize the wisdom in the rabbis’ advice, they also realize that life is unpredictable and that, while this advice can certainly help one’s life, it ultimately has no bearing on one’s fate. In other words, good works, although admirable and even integral to flourishing of the human person, do little to prevent bad things from happening to you. This theme pops up several times in the Coens’ filmography. In 1996’s “Fargo,” the good will of a chirpy police officer fails to prevent crime from pervading a good-natured Midwestern town. In 2007’s “No Country for Old Men,” the violence of the new world outmatches the skill of an old, moralistic deputy.

As the amoral Anton Chigurh, the crazed serial killer in “No Country,” exclaims with dry certainty, “You can’t stop what’s coming.”

This sentiment is played with throughout “A Serious Man.” As Larry melts down, he searches for answers in religion, tradition, and even physics. But, ultimately, he lives in a world of unpredictability. While he can try to ascribe meaning to all the unpleasant parts of his life, while he can think that he is being punished for some moral wrongs, while he can valiantly try to incorporate a set of principles into his everyday, these actions have absolutely no meaning when confronted with the unpredictability of fate.

Thus, if there is a God, we do not know the method to his madness. Therefore, we must live our lives to the fullest. We must make the most of our circumstances and work to improve the lives of those around us. We must not overcomplicate the nature of our existence. And, perhaps most importantly, we must appreciate what we have been given.

But, at the end of the day, we have no idea if our actions take on any greater meaning. So, ultimately, it doesn’t matter if Larry accepts or denies the bribe from the disgruntled student. While this action is – and should be – important to Larry’s individual moral character, his life does not depend on it.

The tornado of fate can intervene at any moment. It can ruin your life with one swift blow. It shows little concern for you well being. You can’t make a deal with it to ensure your safety. You can't lessen the effect of its deadly blows.

You can’t ignore it. You can’t fight it. You can’t stop what’s coming.

Do you have any thoughts on "A Serious Man?" Race to the comments to leave your interpretation of the film's meaning.