The Judd Apatow brand of comedy has dominated the genre
for the better part of the last ten years. His influence extends far beyond the
handful of films he’s directed himself into a host of other films that he’s
also produced, many of them featuring actors he’s fond of using in his own
films. His films don’t go for the simple gross-out and zany laughs of the
Farrelly brothers. They rarely rely on shock value. They’re more like
situational comedy with believable situations, unlike what you get from your
average popular TV sitcom. His writing is often insightful, replete with astute
observations of human behavior, even if it’s usually from the eccentric limit
of the spectrum. In his latest (only his fourth as writer and director) film, This Is 40, he returns to peripheral
characters created for his 2007 comedy Knocked
Up, crafting a story around a married couple with two daughters and their
attempts to deal with their changing lives as they reach middle age.
In that previous film, Pete and Debbie’s (played by the irresistibly
adorable Paul Rudd and Apatow’s real-life wife Leslie Mann) marriage seemed
headed for doom. It’s nice to see they’re still together, though maybe a little
worse for wear. Debbie is not ready to deal with entering her 40’s. Pete is
comfortable with the digit that starts his age, but he hasn’t had the
professional or financial success he expected when he struck out on his own
with an independent record label. Because he won’t allow himself to succumb to
the pressures of banking the easy selling, though intellectually vapid, artist,
he’s on the brink of having to sell his house and lose his business.
Their problems should be recognizable to just about
anyone juggling marriage, family, and profession. Their older daughter Sadie
(played by Apatow’s and Mann’s real-life daughter Maude) is just coming into
maturity and dealing with the awkwardness of being a blossoming teenage girl
for whom an episode of “Lost” can spur an outbreak of uncontrollable emotion. Charlotte,
the younger girl (played by Iris Apatow) is dealing with being too young to
understand what her sister and parents are going through, but old enough for it
to be hurtful when she’s ignored.
Mann and Rudd are absolutely winning performers who can
sell their characters 100 percent. Mann is wide-eyed and sweet, but when she
turns on the fury, she can be devastating. Rudd is the kind of actor who can
evoke sympathy from an audience no matter what he’s doing on screen. Some of Pete’s
behavior may be inexcusable, but it’s impossible to dislike him because Rudd
brings such charm to the role. These are characters who, if you met them in
their home, you would think they’re horrible people. In the hands of these two
actors, they are a cute couple working through some thorny issues.
When the comedy is on point, it is as sharp as anything
Apatow has written. There’s a very funny scene when Pete and Debbie take a
night away for themselves in a hotel and get stoned. But This Is 40 is not always hilarious. In fact, it’s more often
poignant, dramatic, and bittersweet. Now in his mid-40’s, Apatow finds comedy
in the softer moments of life. Scenes of Debbie confronting Pete while he’s
sitting on the toilet, or Pete’s father dealing with raising 5-year old triplet
boys (the result of fertility drugs for his second wife) play less hysterically
and more like the amusing realities that people actually contend with in the
real world.
There are, however, moments of truly questionable sources
of comedy, as when Debbie confronts a 13-year old boy who has seemingly been
picking on their daughter. Listening to an audience full of people laughing at
a 40-year old woman threatening and reducing to tears a young boy was as
uncomfortable as I’ve felt at the movies in a long time. This is simply a
miscalculation. Comedy at the expense of a child is not funny and is uncalled
for, as was the resultant scene, which has Pete telling off the boy’s mother
(played by a hilariously unhinged Melissa McCarthy). Later she confronts Pete
and Debbie in the principal’s office in a scene that is clearly trying to
suggest how much more likely it is for good-looking people with money to get
away with bad behavior, especially when they know how to put on the face of
reasoned incredulity in public. That Pete and Debbie essentially get away with
their deplorable actions struck me as irresponsible.
This Is 40 is
very well-written and showcases some very good acting, particularly from Albert
Brooks and John Lithgow as Pete and Debbie’s respective fathers, but it suffers
occasionally from a lack of focus. Apatow might argue that life meanders and
that’s fair as much as it’s true, but that doesn’t necessarily translate to a
movie I want to sit through, especially one that runs a little too long while
failing to come to definitive close. Not to suggest I wanted all the problems
of a long-married couple to be summed up and resolved in a single scene, but a
lot of the closing moments could have been eliminated. For the most part This Is 40 is an enjoyable experience
and it’s obviously written from the heart, but it’s too lack to measure up to
Apatow’s previous work.
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