Wednesday, 21 June 2017

The Lovers

The Lovers is a remarkable American indie film, remarkable because it feels much more like a quirky European film than an American film and because it’s unlike any film I’ve seen in a long time (almost always a good thing). Indeed, I’m not sure what kind of film I watched. Neither ‘drama’ nor ‘romantic comedy’ feel right (it’s labelled as a comedy). 

Tracy Letts and Debra Winger star as Michael and Mary, an older couple (pushing 60) who are struggling to keep up the pretence of marriage. They’re bored with each other and don’t seem to enjoy each other’s company at all. So both of them have found younger partners to spice up their lives. Mary has found Robert (Aiden Gillen), a writer, while Michael has found Lucy (Melora Walters), a dance instructor. Both Michael and Mary assume that the other is unaware of their affair, but, given the constant “working late” excuses, they must both be suspicious. In any event, they are about to reveal everything to their spouses because they are both planning to leave the marriage after the upcoming visit of their son, Joel (Tyler Ross) and his partner, Erin (Jessica Sula). But something happens that neither Mary nor Michael expected and which will confuse everyone around them.

So far, this story may not sound particularly original. And it could fall into either the ‘tense drama’ or ‘quirky comedy’ genres. But what makes The Lovers feel so unique (and bizarre) right from the start is the way it mixes the tense drama with a grand romantic score (by Mandy Hoffman) that consistently feels out of synch with what we’re watching on the screen (i.e. feeling light and breezy at the darkest moments). This could be a signal that we’re indeed watching a comedy, but only on infrequent occasions does the plot feel at all like a comedy. But maybe the score, which plays a major role in the film, is supposed to signal that, in spite of the way the characters and their problems feel all too real, the story is not supposed to be taken at face value. A scene near the end of the film is otherwise very difficult to understand.

There is no hint from the critics that The Lovers should be viewed as a metaphor rather than being taken literally. But Janelle’s interpretation (I won’t take credit for it) is supported by the fact that both Michael and Mary choose artistic younger partners, by the quirky behaviours of all the characters and by the smart but very quiet screenplay by writer/director Azazel Jacobs. So much is conveyed by actions and expressions.

Letts and Winger are up to the task, delivering wonderful performances in roles that are well-developed and often unpredictable. The rest of the acting isn’t as strong, but it’s adequate. 

Not too many films these days feature 60-year-olds having passionate affairs or have such flawed ordinary characters, most of whom are sympathetic in spite of all the lies. The Lovers gets ***+. My mug is up.

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