Can You Ever Forgive Me? (2018)

Upon the UK cinematic release today of comedy-drama Brittany Runs a Marathon, I’ve been looking back at this popular hybrid generic form, and wanted to finish with one of the best American examples of the past year, which deftly blends a pathos-filled dramatic story of a writer hitting the bottom with clear comedy notes (impossible to avoid with Melissa McCarthy and Richard E. Grant as your leads), with a side of criminal capers.


What I’ve enjoyed most about both of Marielle Heller’s films as director (she also made 2015’s The Diary of a Teenage Girl) is the empathy and humanity she affords to people who are, pretty clearly, quite bitter and caustic people — the sense that maybe the way they are has been shaped by their environment and their struggles with depression, and that maybe they’re not fundamentally bad people. Melissa McCarthy’s washed-up novelist Lee Israel (and as with Destroyer, I’m reminded this is a generic archetype more usually played by grizzled older men) may be getting involved in criminality but it all seems so very low stakes after a fashion, and she shows apparent creativity in the process of pastiching various authors’ personal style. McCarthy is excellent at getting into this shuffling, self-loathing character, but for me the film is made by Richard E. Grant and Dolly Wells in the supporting performances, not to mention the other wonderfully weary bookshop owners who just have such a genuine thrill at these almost-forgotten names from a more literate past. Grant seems to be largely reprising his Withnail performance, with the hindsight of age and mortality, and (notwithstanding the very late and unconvincing swerve into AIDS themes) it’s an act that works beautifully. Dolly Wells’ Anna may be even more heartbreaking in the way she wants to but is unable to connect with Israel. Overall, and despite its embittered central character, the film just oozes with warmth, and a strange glow cast by antiquarian bookshops and squalid NYC apartments.

Can You Ever Forgive Me? film posterCREDITS
Director Marielle Heller; Writers Nicole Holofcener and Jeff Whitty (based on the memoir by Lee Israel); Cinematographer Brandon Trost; Starring Melissa McCarthy, Richard E. Grant, Dolly Wells, Jane Curtin; Length 107 minutes.
Seen at Curzon Soho, London, Monday 4 February 2019.

The Diary of a Teenage Girl (2015)

You can sort of understand why this film might be troubling to censors, who in the UK have slapped it with an 18 classification. It’s not that it’s particularly sexually explicit, or nasty or degrading, but that it deals with Minnie, a young woman of 15, having an affair with her mother’s boyfriend. But probably more concerning to censors is that it’s entirely told from her point of view, in which adult characters have no moralising role in Minnie’s development (if anything her mother encourages her to flaunt herself more), and in which Minnie is unapologetic and unashamed about what she wants. But that’s a perspective so little seen in the coming-of-age genre, that it makes me wonder if my dislike for the genre is more its usual focus on gamine young women being objects of adoration seemingly unattainable to oily spotted teenage dudes, or other boring tropes of male self-actualisation like going out into the wilderness, or bonding with older guys to learn some Truth about masculinity.

In any case, I imagine the thematic and narrative focus here partly has something to do with its setting in late-70s San Francisco, as well as being based on the autobiography of Phoebe Gloeckner, a cartoonist growing up under the artistic influence of such figures as Aline Kominsky (mentioned here, later married to Robert Crumb). I’ve read her first published anthology, A Child’s Life, and it’s fantastic not to mention quite boldly graphic (Gloeckner also spent some time as a medical illustrator). Some of the nastier edges have been toned down in the film, but there are still magical little efflorescences of animation that crop up every so often around Minnie.

However, aside from its singular focus and unapologetic take on adolescent sexuality, the film also chiefly benefits from the performance of Bel Powley, largely a newcomer to film (although previously on TV in the UK, and the undoubted comic star of A Royal Night Out earlier this year), who impresses as Minnie largely for her unaffected ingenuousness and wide-eyed wonder, without ever feeling the need to dress up for the attention of men. As it’s based around her recorded diaries, there’s a fair amount of teenage solipsism, but this never overwhelms the story and is generally treated as gentle comic fodder, as Minnie knocks about from one adventure to another. Being told from Minnie’s point of view, Alexander Skarsgård’s Monroe is a sort of affable loser rather than anyone more threateningly creepy, while her mother just seems strangely absent (something Kristen Wiig, playing it straight, is very good at doing), though the appearance of her feared stepdad Pascal (Christopher Meloni) is a brief but enjoyable cameo and his advice sets up Minnie’s closure with Monroe perfectly, though you’ll really have to go see the film to know what I’m talking about. So I recommend doing that. It’s certainly not what you’d usually expect from an 18-rated film.

The Diary of a Teenage Girl film posterCREDITS
Director/Writer Marielle Heller (based on the graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures by Phoebe Gloeckner); Cinematographer Brandon Trost; Starring Bel Powley, Alexander Skarsgård, Kristen Wiig; Length 102 minutes.
Seen at Picturehouse Central, London, Saturday 8 August 2015.