“Margot at the Wedding” features some of the most unlikable characters to be seen on the big screen. It can be a plodding exercise to watch these spiteful, passive-aggressive, neurotic people pass on their bizarre idiosyncrasies to their increasingly flawed children, but a uniquely insightful one. This is a well written film that works slightly better in vignettes than as a narrative whole.
Oh How Childhood Impacts Adulthood
Family dysfunction is well worn territory for angsty filmmakers trying to work out their inner-demons on the big screen. It’s amazing how much pain can be generated by simple neuroses, insecurity, self involvement, or a perceived slight. These films often feature the effect that childhood scars have on the functionality of adult romantic relationships. Fears of rejection, intimacy, abandonment, trust, etc. are just some of the defense mechanisms that define themselves on the slippery slopes of human bonding. Where most movies like to oversimplify these problems and offer compact, condescending, but well meaning solutions, Noah Baumbach revels in their complications and inability to be rectified.
Margot is Off to her Sister's Wedding
At the centre of family mayhem is the beautiful Margot (Nicole Kidman), a somewhat successful short story writer, traveling across country with her androgynous son Claude (Zane Pais) to attend her sister Pauline’s (Jennifer Jason Leigh) wedding to her artistic failure fiancé Malcolm (Jack Black). Once Margot arrives the sisters begin to manipulate and gossip about each other, while the children essentially mirror the adult behaviours in their interactions.
Unlikeable Characters are the Attraction
Noah Baumbach has a knack for writing spiteful characters. Their flaws stem organically, and the interactions often propel the story, rather than the story forcing the characters into unnecessary catharsis. Many will argue that this was presented more effectively in the brash “Squid and the Whale”, overlooking the detail taken in presenting the relationship between Margot and Pauline in “Margot at the Wedding” and how overt their inner-anxieties are painted on the faces of their children. The two films are very similar in set-up and execution, layering character drama with pitch black humour. Their comparison in success will vary based on the tastes of each individual viewer.
Nicole Kidman and Jennifer Jason Leigh Deliver Great Performances
The performances are strong all around in this film, with Jack Black being the weakest link. The dialogue exchange between Leigh and Kidman are particularly sharp and proves to be the greatest pleasure of this film. Leigh does a great job playing the less successful sister prone to mood swings and irrational reactions. She gives the character an interesting level of humanity and occasional likeability despite the actions she takes. While it isn’t fashionable to say good things about Nicole Kidman these days (Not sure why), she delivers a raw, venomous performance here, not shying away from playing selfish to an almost vulgar degree. The only gap here is with Jack Black who fares reasonably well with his one-liners, but struggles when asked to expose deeper emotion.
Natural Direction Makes the Film Feel Natural
The overall aesthetic of the film adds to the raw tone. Handheld cameras and natural lighting are used, creating a more authentic field without bridging over to unnecessary pretense. Particularly heightened scenes are often cut into without explanation moving the story forward with a jump-cut effect that oddly works rather well here. It removes the viewer from somewhat theatrical yelling bouts at appropriate times only to be reintegrated when things resolve themselves.
A Hard to Digest, But Well Made Film
“Margot at the Wedding” won’t be for everyone. It’s a difficult and divisive film that will likely turn most viewers off. There is no formula, no compact resolution or catharsis, and it is unlikely that anyone will strongly identify with any character in particular; at least not without some defensiveness and discomfort. This is an art house movie unlikely to make the transition over to mainstream audiences.
