"Marriage Story" might be the best that American director Noah Bomback has made since his first film similar to a theme called "Squid and Pisces" in 2005. Since that time the man has been working on making films in which he did not depart much from the subject of his mentioned films. The point is that all his films are family or personal relationships in one way or another, as Woody Allen does.
In "Marriage Story" movie, which is largely inspired by the director's personal experience in 2013, the director does not hesitate to release his feelings to overwhelm his reservation, meaning that he focuses on the most trivial aspects of divorce, but it is more harmful to both parties, and he is also critical of the family law in the United States .
Most of the movie's stances convey real emotions to any viewer from anywhere in the world and do not concern the American only, and it is calculated for the director to show it on the screen with complete honesty. But the main characters are not ordinary but rather characters who live inside their own bubbles and with problems that concern them only without being affected by the lower level and the affluent.
In many cases, it is difficult to ignore the vanities that arrogate the characters. Despite our emotional contact with the characters as human beings, there is no way to go deeper than a certain limit, and this is the vast difference between a marriage story and the much higher and better classic classic "Kramer vs. Kramer", Oscar's best movie of 1979.
As was "Kramer v. Kramer", this film is an anatomy of marriage. When the movie starts we see Nicole (Scarlett Johansson) and Charlie (Adam Driver) go through their separation procedures. We only see their happy days during the montage / monologue Beginning: A presentation to each of them about He loves him in the other. This particular segment reflects Bombak's best skill as she tells the viewer what the couple lost and the characters' awareness of what they missed.
Every movie (two and a quarter hours) dedicated to the details of the divorce proceedings, Nicole returns to Los Angeles to become a TV actress and is a career that has revived her after hibernation, while theater director Charlie remains in New York to sponsor his play on Broadway.
The son goes with the mother while Charlie travels from the East Coast to the West to see his son. The separation loses the couple's affection with the intervention of divorce attorneys who focus on their interests only at the expense of everything else, and the interests of the lawyers are winning and profiting from the case. While all the parties to the separation want is to carry on their lives with the least possible pain and distress.
Nicole chooses her firm attorney Nora (Laura Derne), and after Charlie chooses Hawk attorney Jay Marotta (Ray Layota) back down and chooses the quietest and wisest Bert Spitz (Alan Alda), whose apparent frenzy of appeasement makes him easy prey for any other attorney.
The film gives several hints that the case is solvable and even the characters themselves feel this, but they both lack the virtue of the courage to reverse the decision because of the lawyers ’obsession. There is a scene in which Charlie cries because of the severity of the experience and Nicole embraces him sympathetically, and yet they decide to proceed with separation rather than discuss the issue of bridging the rift and considering ways to sacrifice anything to save the marriage. This is perhaps the most expressive view of the director blaming the personal status system in America.
In the midst of all this fierce battle, we find the child Henry, who says the two parties to the separation is the most important thing in their lives, but they spend the money allocated for his studies on their lawyer, and this is the most moment when Pompek mocks the American judicial system.
Henry, like the rest of his peers in such situations, is a mortgage, as his interests become a secondary thing to the lawyers ’priority: winning. This is justified by counsel, Noura, without any reservations or shame. Although Bomback succeeds in removing the scales of the two characters and maintaining a kind of mutual sympathy between them, despite the apparent selfishness. But his style was not always successful.
There is a scene of a very sharp verbal battle between Nicole and Charlie that is completely spontaneous and seems written and artificial (exactly like the miserable Gulf and Arab series), the dialogues are characterized by the selection of expressive words and do not reflect any spontaneity and the dose of melodrama exceeds its limit.
In this particular scene, the viewer may have the right to do something else to engage himself in the film, because the important question is: If a couple quarrels in front of you in a café or a street, you may be interested for a minute because of the fuss they are making, but will you care about the reasons for the dispute?
There is another scene in which Charlie accidentally injures himself with a knife used to open the boxes (not used as a weapon or for food), the scene of bleeding seemed cacophony in the film. There are two songs in the movie, one that sings by Charlie and the second sings by Nicole, you lose the movie tone and the best thing to do while pressing the accelerate scene button!
Because of the extraordinary performance of Meryl Streep and Dustin Hoffman, "Kramer v. Kramer" succeeded in "A Marriage Story," and Driver and Johansen both performed well in it. Driver Despite some cacophony moments in his performance, Gid is a control freak who is thought to be a victim. Johansen on the other side is doing better in her cinematic career and possibly better than her 2004 Lost in Translation performance.
For Bomback, "The Story of a Marriage" is a step far from what he has been working on. This film can be seen by everyone compared to his previous films fit for elite viewers more than the public.
Some people may see that the tone of the film is "too negative", but we very much appreciate that Driver and Johansen are in their normal form. This is a driver when Kyleo Rein is, and this is Johansson with her flesh and grease outside the Black and Ido mantle. In other words, we live in a time when we have to appreciate the value of any film despite its flaws, especially if it does not come from the Marvel Cinematic Universe.
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We live in a time when we have to appreciate the value of any movie despite its flaws, especially if it does not come from the Marvel Cinematic Universe.
Most of the movie’s stances convey real emotions to any viewer from anywhere in the world, and do not concern the American only.