Though it would not be possible to do a themed week around romcoms without something by Nancy Meyers, it turns out she’s also dipped her filmmaking talents into the Christmas-themed picture with The Holiday, which of course is still a romcom primarily. Her films always feature couples trying to work out their issues, such as in 2009’s It’s Complicated, or even 2015’s The Intern (though the romcom plot is not at the core of that film), and she doubles it up for The Holiday, a comforting blanket of a movie, like so much of her work.
A Meyers family movie is a comforting thing (whether by mother Nancy or her daughter Hallie Meyers-Shyer, who made Home Again). Indeed, like the daughter’s film a decade after this one, there’s even something refreshing about a film where guys may act badly but no one is being an out-and-out creep. This means that there’s no danger that, however menacingly weird Jack Black’s smile may look, he’s going to try and force anything more than a kiss on Kate Winslet’s cheek and even then he’ll apologise winsomely for it. Oh sorry, I haven’t even mentioned the plot, have I? Well, Iris (Kate Winslet) and Amanda (Cameron Diaz) swap homes, for reasons… that’s all that you really need to know, though you might like to be aware that Jude Law will show up. The film does have a certain clunkiness to the setups, with some very self-aware “meet cutes” and an internet relationship that doesn’t seem likely, as well as a toe-curling opening voiceover from Winslet about her relationship with the dastardly Jasper (Rufus Sewell). Still, it is supremely Nancy Meyers-ish, and there are some very nice bourgeois homes on display in both the States and rural England.
Director/Writer Nancy Meyers; Cinematographer Dean Cundey; Starring Kate Winslet, Cameron Diaz, Jude Law, Jack Black, Rufus Sewell, Edward Burns; Length 135 minutes.
Seen at home (Amazon streaming), London, Monday 1 January 2018.
It’s very easy for critics to be sniffy about the oeuvre of Nancy Meyers: gentle, sometimes sentimental, romantic comedies about people later in life dealing with messy relationships and families. But I don’t know, I think her films have more going on than her detractors might allow. After all, it takes some skill to make actors like Alec Baldwin and Steve Martin into blandly appealing, even likeable leads when so much of their screen personae are based around being acerbic, dominating alpha males — to such an extent in fact, that star Meryl Streep (as divorcee Jane) almost gets the film stolen from her by this duo of her ex-husband Jake (Baldwin) and new flame, architect Adam (Martin). Sure it’s all very comfortable (and white) middle-class suburbia, people living in just-so houses doing delightful things like baking and architecture, but that’s these characters’ lives and it’s all put across expertly by Meyers and her actors. Within this world of existing jobs and familial obligations, the central relationship entanglement in which Jane finds herself almost doesn’t register, but it’s handled sensibly, in a mature way that most comedies can’t manage (especially those flirting with slapstick, as this does at times). It’s a pity that Lake Bell, a woman with plenty of comic talents both in front of and behind the camera, has such a thankless role as Jake’s vain new wife Agness, but that aside this is a likeable, warm-hearted film that works well when one is laying up ill on a sofa.
Director/Writer Nancy Meyers; Cinematographer John Toll; Starring Meryl Streep, Alec Baldwin, Steve Martin, John Krasinski, Lake Bell; Length 120 minutes.
Seen at home (Netflix streaming), London, Thursday 29 October 2015.
Having just written about Miss You Already, another recent directed-by-a-woman comedy/drama, and criticising its somewhat patchy use of musical cues, along comes this fluffily inoffensive new Nancy Meyers comedy and oh boy, what was I even talking about yesterday? To be fair, like Anne Hathaway’s little indie romance Song One, if I’d seen this film on a plane or on TV when I was feeling ill, then I’d undoubtedly be giving it an easier ride. It’s perfect for those occasions. But in a cinema with a crowd of other chattering (perhaps somewhat cynical) attendees, it has its difficult stretches, and most of those for me revolve around the treacly orchestral score that kicks in whenever something meaningful or emotional is happening, generally in the last third. However, if you can get past that, the precociously annoying kid and the rather overextended later stretch that deals with romantic infidelity, there’s still enough to make it passably entertaining. There are some good jokes as the film is setting up its premise, that 70-year-old Ben (Robert De Niro) has applied for a ‘senior intern’ position within Jules (Hathaway)’s internet fashion company, and has to fit in with clued-up tech-savvy youngsters. A lot of that revolves around familiar age-vs-experience clashes, but Ben is also called on to show his sensitive side quite a lot, so your tolerance for De Niro’s mugging for the camera will be tested — though luckily he’s largely pretty good at it, and inoffensive, which is this movie’s watchword. But I love Anne Hathaway, and am always happy to watch her; she has an easy on-screen charisma. So despite all that manipulative music, despite her “adorable” daughter and the fact that everyone seems to live in homes that look like boutique hotel fashion plates, despite the fact that the company (for all its financial success) never in the end actually seems to pay any of their interns a salary — perhaps a sly commentary on the modern workplace — I still didn’t leave hating this movie. Your mileage may vary.
Director/Writer Nancy Meyers; Cinematographer Stephen Goldblatt; Starring Anne Hathaway, Robert De Niro; Length 121 minutes.
Seen at Cineworld Wood Green, London, Monday 28 September 2015.