I saw a trailer for the upcoming comedy What to Expect When You’re Expecting,
based on the best-selling book of the same name. Judging from the two minute
trailer, it looks like yet another lowest common denominator comedy that gets
the majority of its laughs from trafficking in stereotypes of the difficulties
of parenting. In 2012 can Hollywood really do no better than jokes about
incompetent dads who just don’t know what they’re doing? Seriously? This
trailer came at the front of Jennifer Westfeldt’s startlingly excellent comedy Friends With Kids. The trailer for What to Expect doesn’t belong anywhere
near the same screen as Westfeldt’s film.
Like Westfeldt’s first screenplay Kissing Jessica Stein, about a young woman who briefly explores the
possibility that she might be a little more into women than men, Friends With Kids is exemplary in its
understanding of character and romantic relationships. This is one of the best
screenplays to come out of Hollywood that I’ve seen in a long while. It’s
smart, witty and makes finely tuned observations about the difficulties of
transitioning from young, wild, and childless to not-so-young, tense, and
familiar.
Westfeldt plays Julie, a single woman in her late 30s
living the dream in Manhattan along with five close friends. Jason (Adam Scott)
is her best friend with whom she shares a completely platonic and almost
fraternal bond. Ben and Missy (Jon Hamm and Kristen Wiig, reprising their Bridesmaids relationship) are newlyweds
who can’t keep their hands off each other at the start of the film while Alex
and Leslie (Chris O’Dowd and Maya Rudolph, completing the Bridesmaids mini-reunion) announce they’re expecting their first
baby right after Jason and Julie make the faux pas of complaining about a
family with children in the fancy restaurant where they meet. “Nothing’s going
to change,” they all promise each other. The “four years later” title card that
follows promises the big reveal of truth.
Now Alex and Leslie have a second baby and Ben and Missy
are coping with their first while Jason and Julie are still struggling to find “the
one.” A visit to Alex and Leslie’s chaotically disordered apartment in Brooklyn
(a $45 cab ride from the swank digs of Manhattan) is enough to convince Jason
and Julie that they’re better off without kids – at least temporarily. Soon
they start spit-balling the rather unconventional idea of skipping past the
marriage, dysfunction and divorce and just having a baby together with down-the-middle
shared custody.
To call Friends
With Kids a romantic comedy is not only an insult to this film, but also by
default an unnecessary elevation of a whole genre of banal films to a level in
which they don’t belong. What sets the film apart is, for one thing, a story
that doesn’t involve the usual frantic running about by the romantic leads
pretending like we don’t know exactly how it’s going to end. There is
mercifully a complete absence of the trope of having a totally contrived
conflict involving a misunderstanding that could be resolved by speaking a
single sentence. Instead Westfeldt gifts her audience with something entirely
original – a Hollywood comedy with brains in which the characters don’t speak
in stock clichés. The situations are believable and what the characters say to
one another and how they behave is more or less what I might expect from real
people. Their reactions and behaviors are never the cartoonish antics that are
the calling card of the Rom-Com genre.
It’s easy to argue, however, that the behavior of real
people in most cases doesn’t really make for a watchable film. And I’m
generally inclined to agree with that. But Westfeldt imbues her story,
characters and situations with a depth of knowledge of the human condition that
has the ability to teach us something about ourselves. Or maybe I just came to
this movie at the right time in my life as a man roughly the age of these
characters and with a toddler that, as much as I love him and would never give
him up for anything, does prevent me from leading a very different kind of life
than what I imagined for myself several years ago.
All this is obviously in praise of a screenplay that I
simply think is top notch. This says nothing of Westfeldt’s direction of the
film which demonstrates she’s equally as skilled behind the camera. The film
opens with a briskly paced and funny credits sequence and she rarely lets up on
the energy. I love that she’s not afraid to show marriage, relationship and
having children for something other than the joyous wonder that our fairy tale
visions would like to believe. The reality is that having children is an
unbelievably stressful component to add to a relationship. Leslie and Alex have
rough patches and Alex laments not having sex as often as he’d like, but he’s
come to terms with that. Ben and Missy trade their blissful early romance for a
soul-deadening marriage, the problems exacerbated by the presence of a child.
If I have to subtract points somewhere I’d say it’s when
the film branches out to encompass more characters than Westfeldt is willing or
able to flesh out entirely. After the birth of their stunningly perfect baby
boy, Jason and Julie each enter the dating scene, striking up romances with
Mary Jane and Kurt, respectively. These two never fully break free of the
confines of their almost one-dimensional characters. Mary Jane is supposed to
gorgeous and seductive, intelligent, talented and interesting. She is meant to
be the perfect combination of qualities to actually make the serial-dating
Jason settle down except for the unfortunate snag that she has zero interest in
children. The inexplicable casting of Megan Fox as MJ (as she’s known to Jason)
would suggest that carnal pleasure is the main quality Westfeldt was hoping to
highlight. While in Kurt, the perfectly handsome, perfectly tall, perfectly
divorced, perfectly put-together perfect man for Julie, Edward Burns brings
enough charisma to elevate him from the page a little bit.
It seems for a while that the film’s conceit – that two
people can decide to have a child without a romantic relationship between them
and have everything remain hunky dory – is facile and somewhat irresponsible.
It’s a long time before anyone considers that their child is a human being with
feelings who will one day be curious about his origins. Just when I was
beginning to think Westfeldt had left a major component out of her film, it
turned out I underestimated her as a keen observer of life. Her eye and ear for
both the comedy and tragedy of life keep her film teetering on the brink to the
point that we don’t know whether things will end in triumph or in disaster,
sort of like real life.
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