It’s good to be a Jew in New York – they only make good movies about you. One of the first stones in this “subgenre” was laid back in the late 70s by the prolific Woody Allen with his famous “Manhattan”, and in 2017 the cult Noah Baumbuck released a film with the talking title “The Myrowitz Family Stories (New and Elect)”.
And if in the “Marriage Story” the main subject of study of Baumbak was the relationship of spouses on the verge of divorce, then in the “History of the Majrowitz family” such an object is already a whole dynasty in a severe form of family discord.
One of the central figures of the narrative is the “father of the family” – colorful artist Harold Mayrowitz, who was excited by the idea of organizing a retrospective exhibition of his own works. Gradually, this decision brings the whole family together, which ultimately leads to the exacerbation of deeply dormant childhood grievances, jealousy for an elderly father and explosive quarrels.
For the display of the Majrowitz family, by the way, the dream acting team is responsible (which happens to Baumbuck on envy often): two famous comedians Adam Sandler and Ben Stiller in dramatic roles make up the most powerful trio in the company with Elizabeth Marvel. The senior guard in the film is brilliantly represented by film veterans Dustin Hoffman and Judd Hirsch in the company of Emma Thompson. In the third-plane role lit up after brilliantly speaking in “Marriage Story” Adam Driver, and in the role of herself even appeared Sigourney Weaver. However, the only acting award for the film brought the debutant - poodle named Einstein, who played the dog Harold Mayrowitz - he was awarded the Palm Dog Award in Cannes.
Whatever you say, and the author's handwriting Baumbak in the "History of the Myrowitz family" is guessed with frightening accuracy already from the first frames. As in “Marriage Story”, this is an amazing spectacle with jewelry directing and the most subtlely written characters. The plot again unfolds in the atmosphere of art and surrounded by creative people (the daughter of Sandler’s character in the plot does not enter the university to study film directing, and during the film we will even show several of her educational works), and the main cities of history again become New York and Los Angeles.
The main feature of Baumbak’s films, however, was and remains an all-conquering humanism. “Family Stories of the Majrowitz Family” – the film is essentially very Chekhov – starting with the plot of “awakened family conflicts” and theatrical conversational narration (don’t be afraid, the chatter in the film does not tire at all).
It is clear that the Russian Chekhov, that the New Yorker Baumbak - the authors are deeply humane, whose work can be safely prescribed as therapy to all suffering from a shortage of human heat. Complements the humanistic atmosphere and the gentle caramel image created by the cameraman Robbie Ryan (the film was expected to be shot on film) and perfectly fits the unobtrusive music of the Oscar-winning composer Randy Newman.
“Meyrowitz Family Stories” reminds of an old family album, which lovingly captures everyday romance, charming family gatherings and not without delight recognizable details (for example, men who never want to see a doctor).
But a more significant, even fundamental feature of Baumback’s work is the author’s maturity and immediacy in relation to human flaws (kindness in the picture very naturally coexists with wisdom). The director has an amazing ability not to be afraid to look into the eyes of the undisguised truth of human relationships - faded feelings, imperfect parents, etc.
More importantly, they don’t blame almost anyone in the film. Even Harold Mayrowitz’s inept, false and harmful fatherhood does not become a reason for the characters to dislike him. Additional confirmation of this (as if specially, ironically added by the director) will be a scene with a mention of what happened in childhood one of the heroes of the act of pedophilia - perhaps the most ironic in the history of cinema.
The main emotion of the film thus remains the same Chekhov burning, passionate desire, but the seemingly complete inability to love and live in peace with others. And here it is worth saying thank you to the American director - unlike the Russian classic, he gives his characters a chance for an outcome different from the exclusively tragic.
The Myrowitz Family Stories is certainly not Baumbach’s most successful picture, in large part because it struggles to be a comedy, even though it is based on dramatic material. At first it seems that the director decided to divorce Stiller and Sandler, that is, to shoot them so that they do not meet in the frame. But the climax of the tape is just their psychological and physical clash (which is also predictable). In general, “The Myrowitz Family Stories” is a kind of meeting of the “new Hollywood” (which in the picture indicates Dustin Hoffman) and Woody Allen in not the best form (such as the tape “Something else” with Jason Biggs, the star of “American Pie”, the nauseating nightmare of my school adolescence), that is, not always skillful balancing on the verge of kitsch.
In fairness, it is worth noting that Hoffman plays one of his best late roles (the star of “The Graduate” and “Tootsy” looks with Sandler an old picture with Redford, which also indicates the cinematic roots of Baumbach’s film with “new Hollywood”), creating an image of a sculptor-loser, whose time has passed. The director’s attempt to fit his film into the context of ridicule of modern art, which enthrones mediocre people who are able to conceptually express themselves in a vague way and powder their brains, did not quite succeed. This is not Enslund’s Square, but Baumbach is not concerned with cultural, but with more intimate tasks, so what do we want?
Elegantly looping the first episode, Baumbach hints to the attentive viewer at the main feature of his directing - the ability to tell simple stories through complex dramaturgy, carefully worked out suggestive influence on the viewer. But Baumbach is not Trier, he does not manipulate emotions and reactions, his task is to identify the complex in the simple, to show the diversity and richness of everyday life even when the characters are wingless and anti-romantic.
“The story of the Myrowitz family” is almost satire, at least it completely lacks the lyrics of “Sweet Frances” and “Mistresses of America”, but there is also a pathologist’s cutter in the Bergman spirit, which is noted by “Margot at the wedding” and “While we are young”, this tape is closest to “Greenberg” and “Squid and Whale”, which we will talk about later, this is an ironic, sarcastic mockery enough that the characters do not look spiritually ugly, but hard to their shortcomings.
The roles of Sandler and Stiller turned out to be just right: but the first plays exclusively inside him, that is, the traditional role of a neurasthenic, and Stiller (compared to Greenberg and While We Are Young) expands the boundaries of his images, demonstrating the ability to perform tragicomic roles, in this case - a businessman, an outcast in a creative family. Baumbach achieves an unusual effect: the heroes are not sorry, so they are ridiculous, caricatured in their desire to be intellectuals (completely devoid of the search for the meaning of life, marking a gifted person, they are immersed in everyday life and rummaging through it like pigs), and at the same time you sympathize with them - so they are disliked and unhappy. Along with good male acting work, the fading of female types is depressing (with the exception of Emma Thompson, thanks to which Baumbach creates a disgusting image of artistic squalor, not just amateurism, a portrait of the iPhone generation, rhyming with the general idea and the finale of “While we are young”).
Why would Baumbach make a film that didn’t add anything new to his filmography? I think that the director we are studying works in three planes at once, alternating them in turn: these are lyrical and elegiac sketches (“Sweet Frances”, “Mrs. America”), dramas that etch any elements of comedy (“Margot at the wedding”, “Greenberg”, “While we are young”) and sarcastic tragicomedy (“Squid and the whale”, “Stories of the Myrowitz family”). Baumbach removes one thing, then another, then the third, not allowing either himself or the viewer to get tired of the monotony of themes and motives, which once again indicates his great creative potential, not yet fully disclosed, because not all his tapes are successful.
What can I say about this movie? A few short stories, telling us about the life of one family, so to speak, representing the creative intelligentsia. Museums of contemporary art, receptions, exhibitions and performances. All sorts of chic and quite far from 'evil streets'. They're safe from poverty. They can afford to focus on personal relationships, dissolving somewhat in both succinct stability and sublime idleness.
The intrigue of the tape adds a star cast of actors - Dustin Hoffman, Ben Stiller, Edam Sandler and Emma Thompson. All in the same movie. Sigourney Weaver appears briefly playing himself. Of course, even if they all together do not offer anything new - playing out the good old cliches already known to all of us, they certainly attract attention. Dustin will run through the night city, then the scandal will arrange Ben Stiller.
However, the film is largely related 'Square' Estlund, winner of the Cannes Festival. Both films discuss the relationship between contemporary art and contemporary issues. And if the European view touches on the most pressing issues, then the American picture seems to fixate on the creators themselves. They do not gush ideas, just enjoy free everyday life.
The secret of this picture is simple - the characters, on closer examination, turn out to be completely unremarkable, mediocre personalities. Even down to earth. The film dissolves in this superficiality. Alas. Instead of the expected irony, we get a continual crackling of empty conversations, empty time. There is nothing to catch on to – there are no bright moments at all. No need to be surprised at such a low rating.
2 out of 10
Author’s works in our difficult cinematic time acquire the weight of gold. Especially if the film is presented by people like screenwriter and director Noah Baumbuck. One of the holy trinity of friends where the other two are the incomparable Wes Anderson and already pleased viewers and critics with the new work of Greta Gerwig. Baumbach presented to the world an easy tragicomedy about family values with a weighty caste in the main roles.
The story revolves around the Myrowitz family. The head of the family performed by Dustin Hoffman is an eccentric sculptor who hosts his adult children: the failed musician Danny performed by Adam Sandler, the daughter of Ginny and the successful financier Matt performed by Ben Stiller. In many ways, a family reunion touches the old wounds of children, which will allow the heroes to take a new look at their difficult relationship.
Noah Baumbuck, like his comrades Anderson and Gerwig, skillfully has an easy presentation of the story, which is felt from the very first minutes of the picture, divided into chapters dedicated to each of the family members separately. The picture itself creates the effect of reading the book, which is also supported by measured dynamics. The Myrowitz Family Story does not delve into heavy drama or elicit homeric laughter. It also breaks the stereotype that all Jews are successful. It is simple but elegant and will be close and understandable to the viewer as a story about one of many thousands of families with their own internal conflicts and peculiarities. The main merit of this film is the amazing poise in everything: family squabbles are replaced by eccentric comedy antics creating the perfect balance for the genre of tragicomedy. Especially praiseworthy is the acting, where Sandler and Stiller, abandoning their usual comedic roles, show real emotions, revealing new horizons of their abilities, which the viewer could not even guess. As for Dustin Hoffman, he is a master of his craft and in this film he used all the baggage of his comedy experience. “The history of the Meirowitz family” does not set itself the task of expanding the horizons of audience perception – it is just a wonderful original picture, ordinary, but not devoid of Allen’s irony and depth.
+: Caste, production, acting, humor.
The history of the picture is quite simple and clear. It tells about the usual everyday life that occurs in the lives of many people, and does not try to surprise the viewer. But the beauty of it is not so much that what happens on the screen, but rather that how it happens. The relationship of all family members looks natural and, most importantly, vital. When watching for a second, there is no doubt about the truthfulness of the reactions and behavior of the characters in certain situations they face. Of course, some things may seem strange, for example, the ambiguous creativity of Danny’s daughter and the attitude of other characters to him, but it does not look fake and far-fetched.
Act work deserves special praise. Watching Sandler and Stiller in atypical dramatic roles is a pleasure. Yes, and Hoffman is good, he gives his character a unique charisma, brings the image a little bit of life, which goes to the film only for the benefit.
I will not leave unnoticed and light "i> humor" that fills the film. The picture does not set itself the task of amusing the viewer, and the source of humor is not sparkling jokes of the heroes, but the heroes themselves, their random replicas and deeds. From the outside, it does not even look like something intentionally funny, but it seems so familiar and close, as if from your own life, and therefore it is fun to watch all this.
Dialogues occupy a special place in the film, since they primarily reveal the images of the characters and create the atmosphere of the whole work, which is not only the characters, the music of Randy Newman and the editing. It is in dialogue that all the vitality of the film lies.
Now a little bit about installation and operator. Every time I got high, when the frame broke off in the middle of a word and switched to a completely different scene, I really liked it. The use of this technique gives the narrative a characteristic style, and also more attracts attention to the plot due to its seemingly incompleteness. At the same time, the meaning of the unsaid phrase is not lost, the main thought and mood remain in place, and the emotional effect only increases. In general, simple, stylish, beautiful. It's also a good operator. Not to say that he did an outstanding job, but precisely high-quality and good-quality: the picture is pleasant, the eyes do not cut, everything is good in light and color too - more is not needed here.
The plot is dynamic and organic, dividing it into chapters better structures the story, maintaining the dynamics of this tape. Although closer to the final, as it seemed to me, the picture slightly loses its slimness, as if losing its balance in the last 15-20 minutes. The ending, unlike the main part of the film, is less specific and perhaps slightly vague. But this is not a bad thing, but even a good thing, because, in fact, “The Myrowitz Family Stories” are a reflection of real life with all its joys and sorrows. However, do not forget that these are only stories that tell about one life period of the Majrowitz family, so they do not need to have an exact beginning and end. Does everything in real life end in something concrete? I don't think so. The authors complete the work with an ellipsis, giving the viewer the opportunity to think independently about what can happen next, and what fate is prepared for the characters.
It is nice that this story, full of both heavy, dramatic moments, and kind and cheerful, ends on a positive note, leaving a pleasant “aftertaste” and giving a good mood. The Myrowitz Family Stories has life and soul, which is one of its most important virtues. You can see that the guys tried, working on the project, and not just created a disposable product.
I would recommend everyone to watch! A great film about human relationships and family values.
In the movie, I can name only 2 of the pluses that I liked:
- keyboard sandwich on the piano,
- the presence in one film of two important comedians of the genre of comedy - Adam and Ben.
But let's get straight to the analysis. Why is the review red and not green, and not even gray, color?
First, the genre: "comedy, drama."
Comedy should either make you laugh, make you smile easily, or (at least) leave you warm, pleasant feelings. Drama - should shed tears, compassion for the hero, or make during the running credits, symbolizing the end of the film, think about their own life.
There are none of the above elements of the genres of comedy or drama.
A Ferrari standing still, not rushing down the highway, is like a singer with a beautiful voice who is silent. So did Adam and Ben. In the film, is Sandler, lame and with a terrible nasty bristles, the same comedian who made him lie laughing on the floor after the films Happy Gilmore, Waterboat and Nicky, the Devil Junior? Did he star in the romantic melodramas 50 First Kisses, Click and Wedding Singer? And Ben Stiller, it’s true that he, who I see in this movie, is it exactly he who gave the charge of emotions in the Fockers with De Niro?
Naturally, both actors are already in their 6th decade, and forcing them to star in films about golfers-daredevils or future grooms who are going to meet their parents is absurd.
Both actors are capable of more. That’s why I wrote above about a Ferrari and a singer with a miracle voice.
The story of the Myrowitz family reminds of one or two days in the life of the so-called ordinary American family. The film is exclusively for one viewing. The world revolves around a father whom everyone dislikes is not as wild as the 18-year-old daughter (Grace Van Patten), whose father is proud that she shoots in porn and shines bare buttocks and mammary glands. Cruel!
Either I have the wrong idea of normal American life, or my favorite actors have reached a dead end in their careers. Although, it was Sandler who always wrote that his boxes are always, constantly littered with seas of scripts, just have time to shoot.
The nominee for a golden palm branch and another novelty from Brooklyn director Noah Baumbuck, who gave us “De Palma”, “Dear Francis” and “Mrs. America”. The picture is showered with numerous positive epithets from world film critics, considering it the best film among other works of the director, especially noting the strong play of the entire cast. Absolutely unrecognizable Adam Sandler, who is almost predicted the Oscar for Best Actor, the bright Ben Stiller, the inimitable Dustin Hofman, as well as the wonderful Emma Thompson, Grace Van Patten, Elizabeth Marvel and Judd Hersh create an amazing atmosphere of a far from cinematic world, as if immersing the viewer in a Broadway play that takes place on the stage of city streets among ordinary people and real life. Amazingly, watching this film, you realize that even the simplest family stories can be told in a completely new and unusual way.
The plot of the picture is simple and banal. The story revolves around the Majrowitz family, which focuses on the relationship between a father and his adult children. Immediately I want to warn you that this is not just a melodrama for evening relaxation, as it is quite a difficult visual picture, where almost nothing happens. The whole film characters communicate, talk, have conversations, argue, clarify relationships, trying to find a compromise. All the characters want to be heard, want to feel important in the eyes of the family and at the same time are afraid to open up, confess and start a sincere heart-to-heart conversation. For a simple mass viewer, this film will seem the most boring spectacle, but a new horizon of author’s creation will open before the eyes of film fans, because it is a pleasure to look at this miracle. The mind-blowing Dustin Hoffman used a partially familiar style taken from the image of the rainman. His habits, gestures and manner of speaking, as if plunged into the past and demonstrate the magnificent performance of the greatest actor. Although Ben Stiller was not surprised by anything special, his efforts were very noticeable. Elizabeth Marvel amazes and surprises, shocks and delights with her vivid image and deep reincarnation. As far as Adam Sandler is concerned, there are no words, only emotions, to be honest. I confess that I was skeptical of him at first, but then completely dissolved in his image, not believing to the end that this is the famous comedian who has not been funny to anyone for a long time. But here he really pleases, causing a smile and strong empathy for his fate.
Theatrical production without intermission, but with specific chapters, where each story is dedicated to a specific hero or event. In this picture you do not need to look for anything profound, since the story here is about the simple, about the main, about the family.
Enjoy your visit.