I wonder if there re more long-time married couples who
grate on each other’s nerves almost constantly than ones who, in that clichéd
way, still love each other like they did when they first got married. I think
I’ve lways been cynical about this, but it seems nearly impossible to spend
thirty-plus years with someone, with all the compromise, dreams deferred, and
just plain putting up with minor irritations that eventually balloon into major
offenses, without building up a foundation weakened by resentments (however big
or small) and displeasure. These couples do tend to make for more interesting
drama anyway. In Le Week-End, a
British couple whose children are grown and recently departed take an
anniversary trip to Paris where they last visited for their honeymoon. Though
it’s not explicitly expressed, this seems to be a trip designed for
relationship revitalization. But ny two people who have been at each other’s
throats for as many years as they have are likely to continue the practice on a
weekend getaway.
Roger Michell has a habit of taking otherwise ordinary
and mundane stories and presenting them as not spectacular, but deeply real.
His actors, Jim Broadbent and Lindsay Duncan as Nick and Meg, are his greatest
assets in Le Week-End. They have
beautiful chemistry together, whether it’s bickering over the trivial, Nick
acquiescing to irrational demands in order to avoid an argument, exploding over
long-felt and unspoken issues with the potential to end the marriage, or, yes,
loving each other occasionally. It’s not all spiteful and gloomy. They have
their moments of forgetting their disdain. However they’re behaving and
whatever the situation, Broadbent and Duncan play it as if they’ve lived their
characters’ lives and embodied these feelings themselves.
The Paris setting is at once clichéd and ironic. There is
no city in the world more fabled for romanticism. It’s the quintessential
romantic getaway destination. And to be sure, it’s gorgeous to look at even
though Michell and his cinematographer Nathalie Durand don’t focus on the usual
trappings. Sacre Coeur and the Eiffel Tower are visible in the background of
shots, but are never the stars of the show. Michell keeps them on the streets,
in the hotel, and in the classy French restaurants that make up the heart of
the city. That it is the destination location for a couple coming apart at the
seams and that it helps bring to the surface hidden agendas serves as a
rejoinder to the common view of the City of Light as pure magic.
The real coup the movie achieves is in an American
character named Morgan (played by Jeff Goldblum), a former colleague of Nick’s,
who accidentally encounters them on the street. Goldblum drives energy into the
scene and, by extension, the rest of the movie. Without his presence, it would
have started to flag. He invites them to a dinner party the following night,
attended, like a contemporary version of a 1920s Paris party that might have
been populated with the literary elite of Hemingway and Fitzgerald, by Morgan’s
erudite artist and political friends. Morgan likes surrounding himself with
greatness and Nick is surprised to learn in what esteem Morgan always held him.
Morgan is newly married with a baby on the way, even while he’s estranged from
his former wife and has a teenaged son who visits from New York, but remains
cloistered in his bedroom. Projecting an image of joie de vivre and exuberance
becomes Morgan’s way of covering up just how insecure and scared he is in life.
As fun as it is watching Goldblum manipulate and create this character, you can’t
escape the fact that Morgan is a plot device designed as the impetus for
dragging Nick and Meg from a slump.
Michell and screenwriter Hanif Kureishi have collaborated
before, most recently on Venus, a romantic
film of an altogether different stripe. Kureishi’s stories are touchingly
realistic and strike at the heart of that part of being human that gives us the
capacity to love and also to injure. Le
Week-End isn’t groundbreaking and nor is it likely to become a revered
classic, but for the moment it’s good storytelling with three fantastic central
performance to drive it along.
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