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Rachel Getting Married (2008)
I must confess that I had never been terribly impressed with Anne Hathaway, and I didn't think I was going to see her in a role in which her often self-centered persona wasn't going to be a hindrance to sympathising with her. Remarkably, when she rises to the occasion in Rachel Getting Married, it is through playing an explicitly self-centered and inconsiderate junkie who tries to rediscover her love for her family and herself during the weekend of her sister's marriage. The talent on display in Rachel Getting Married is evident from the get-go, with great craftsmen deployed on both sides of the camera. That being said, the film takes some time getting into its stride and separating itself from other suburban psychoanalytical indie-films. What does the trick, in addition to the superb acting from Hathaway and the not particularly renowned character actor Bill Irwin as her father, is Jonathan Demme's attractive, absorbing direction. His bold style allows lengthy non-narrative sequences of arrangements, chatter, speeches and songs at both rehearsal dinners and weddings. It works because we get gradually sucked into the reality of a wedding weekend and the appurtenant family's mechanisms and nature. Demme thus brings the screenplay by Jenny Lumet (Sidney's daughter) to life, elevating what could easily have become a lesser end result. Demme deploys an extensive and incredibly diverse soundtrack to bolster the effect of familiarity. Sometimes, music can lift a film up to an almost spiritual experience. Other examples from recent years include Broken Flowers (scored by Mulatu Astatke) and The Painted Veil (scored by Alexandre Desplat). The same can be said of this film. From Tunde Adebimpe's partly awkward, partly beautiful a cappella to Zafer Tawil's wonderful violin piece during the end credits, the music in Rachel Getting Married is as effective as it is inspirational, creating the perfect backdrop for Demme's poetic, naturalistic family dissection.
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