By Joseph Romano
Spoilers Ahead
Noah Baumbach has essentially made a career out of anonymity. He often helms independent films with sparse budgeting, which most prominently boast impressive screenplays. In his earlier work, his presence might have only been detected by only the most discerning of eyes. However, as he has evolved in his craft – in constructing screenplays and evolving them into films – his style has become more apparent. Baumbach was able to hone his craft under the tutelage of Wes Anderson, who he assisted in the writing of Fantastic Mr. Fox and The Life Aquatic with Dr. Steve Zissou.
Anderson has an uber-stylistic take on cinema, rife with saturated colors, zany characters, and a sometimes-wavering tether to reality. His films, while sometimes divisive, are unquestionably individual and thus Baumbach’s own work, in many ways, drifts to the other end of the spectrum. Baumbach’s films attempt to – at least in part – maintain the spirit of Anderson’s filmography, yet instead of the ultra-whimsical take, he opts for an ultra-realistic style. Baumbach’s work cannot come near replicating the style of these films, rather he relies upon the depth of his characters to drive the overall story’s emotional resonance.
In accordance with his style as a whole, Baumbach’s Marriage Story is above all else a film about perspective. The two main characters – Charlie (Adam Driver) and Nicole (Scarlet Johansson) – spend the film at odds, yet neither is glorified or villainized. The film does not blame either of its characters, rather portraying them as equally responsible and competitive individuals. Their marriage disintegrates due to their individuality, a natural process that isolates them and at the same time does not manifest in loathing.
There are frequent expressions of frustration by each of the respective individuals, however, they can still maintain a civil relationship and in instances realize their love for each other. The two characters’ expressions of indignation, most prevalently seen in the emotional blow up when Nicole visits Charlie’s newly rented Los Angeles apartment, can be accounted for as the arrival at the emotional zenith of the film. Each of the respective characters has been besieged by the demands of a divorce – physical and emotional – brought on by the arduous process, especially in terms of the inherently unfair legal system that presides over it.
The legal system takes a toll on a person and it can especially be seen from Charlie’s perspective in Marriage Story. Similarly, the burden levied on Nicole was accrued in the course of their many years of marriage. During the opening stages of the divorce, she is still very much grappling with the exact feelings she has. Their relationship is certainly not devoid of love – with their letters to each other serving as the major exhibit of evidence to attest to this. However, within the boundaries of the relationship, Nicole was struggling to find subsistance and finally took action. By relocating to Los Angeles, the entire plot of the film is set into motion.
The movie’s switching perspectives, beginning with Nicole and later shifting to Charlie, resembles the way in which no disagreement can be flawlessly whittled down to a singular fault or faulty party. It is vital to understand that the answer rarely lies in black and white, rather there are myriad shades of gray that hold truths, which would be marginalized by a reductionist view. In short, there is rarely a singular root origin for a problem and an individual is seldom deserving of bearing the sole responsibility. Baumbach thoroughly understands this and incorporates its sentiment into his film to a tee. He is able to craft two distinctly individual people who can be deeply understood.
That is not to say that their perspectives are entirely resolved, as life rarely does that for someone, especially in matters of emotion. Rather Baumbach’s script provides enough leeway for the viewer to support either, neither, or both of the embattled characters. While one might inherently understand one perspective more than the other, the film still prevents one from disregarding the outlook of the other.
This film is able to distinguish itself from Baumbach’s filmography because of the generous ethos that it begins to champion. It allows Driver and Johansson to command the screen and drive the production forward in a near-theatrical manner. The film provides a plethora of long takes in which the respective actor must deliver lengthy monologues for minutes at a time. Many instances certainly underscore the film’s overall theatrical aesthetic, especially the frequent use of show tunes to characterize Charlie and Nicole. However, the theatrical atmosphere is not even slightly distracting, as it frees up the stellar cast to win over the audience.
Marriage Story embodies the distant spirit of Kramer vs Kramer with a comedic twist for the modern audience. In doing so, it proves itself versatile because Baumbach’s excellent writing permits him to explore the disheartening legal system of family law, while also remaining hopeful for the future. As overwhelming as the process may seem, it cannot be allowed to fully suppress the individual because, as with everything else, life progresses.
The outlook upon this film for many will be to scorn it as inaccessible to large segments of the viewership. However, as is the case with many of the entries into this genre, a film can be more rewarding and provide more emotional resonance for those that do not immediately relate to the issues of the characters. Such viewers are granted a glimpse at the very best and worst of others’ lives and thus he or she gain more appreciation for his or her own. Marriage Story frames itself within the shell of a decaying marriage, yet it is not mutually exclusive to this realm, as one might apply it to past friendships or other relationships.
In the end, some might render the experience of this movie to be overly saturated and somewhat empty. The perceived lack of melodramatic developments and story elements is a reflection of the reality of life, as it is rarely staged and to reflect it accurately in cinema is to avoid such pitfalls. Therefore, the style might trump the expectations of some because it is misleading for one to project his or her life upon another’s art.
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