Directed by Marc Turtletaub
Starring – Kelly Macdonald, Irrfan Khan, David Denman
The Plot – A closely observed portrait of Agnes (Macdonald), who has reached her early 40s without ever venturing far from home, family or the tight-knit immigrant community in which she was raised by her widowed father. That begins to change in a quietly dramatic fashion when Agnes receives a jigsaw puzzle as a birthday gift and experiences the heady thrill of not only doing something she enjoys, but being very, very good at it, thanks to the assistance of Robert (Khan), a heralded expert with jigsaw puzzles.
Rated R for adult language
– Macdonald’s layered performance. I have always been a fan of Kelly’s, and it’s nice to see her finally getting the kind of starring roles she deserves. As Agnes, Macdonald’s greatest touch is her subtlety to the chaos that unfolds around her daily, repetitive life, bringing nuance to the change that is boiling from within her. Kelly is also someone who says so much without saying anything. It’s in her depleted, even shy reactionary painting on her face where we understand her need to want to live again, and feel inspired even if only for a child’s game. Kelly proved that she can be depended on to steal the stage, and I hope this is the first of many more lead roles for her.
– Oren Moverman’s metaphorical script. Like the game that Macdonald and Khan excel at, the screenplay itself introduces these pivotal pieces, that we at first dismiss them as these minimal drops of exposition, but soon are reminded of their necessity when their pieces rightfully fit into the unfolding drama at the right times. Such an example is a tiny piece of glass that comes from a plate breaking in the film’s opening scene. It is forgotten and never mentioned again until late in the third act, when its deposit brings new life to its purpose.
– The comedy was greatly appreciated, and never felt used as a necessity or gimmick. What I mean by this is that despite this film being billed as a comedy genre film, it never feels forced or strained to make the audience laugh every two minutes, instead choosing to breed the humor naturally in these awkward instances of life that the audience can understand and react to because of their familiarity. In this regard, it’s the initial meetings between Agnes and Robert that succeed the most, taking its time to air out the space between two strangers whose lifestyles couldn’t be anymore opposite by comparison.
– As a director, Turtletaub’s greatest strength is in the ability to let the scenarios play out for themselves for the audience to judge. In this regard, he never feels like he’s forcing a particular narrative or direction down our throats, instead letting the pieces of life play out for themselves to instill that no one is right or wrong in what happens. The concept of randomness is one that is touched upon so frequently throughout the film, and it’s in the strings of such a definition for the word that translates how coincidences often rule fate, no matter how much we pawn for the latter.
– Much of the photography and shot composition on display are also beautiful and move with smooth subtlety. To me, the best kind of filmmaking is the kind that immerse us in the shape and color of a particular scene, allowing our senses to forget about the commander behind the camera, and ‘Puzzle’ accomplishes this feat repeatedly by cherishing the marriage in natural lighting and timid handheld movements. There’s almost a dreamy escapism vibe to some of Agnes’s moments of self-reflection.
– Any film that firmly depicts the importance of a Mother, and how she is the piece of the puzzle that makes any family complete is alright by me. ‘Puzzle’s’ majority audience will no doubt be middle aged women, and Turtletaub’s vision provides an homage to those with the will’s of iron to take what life throws at them, day in and day out. There’s a sturdy bone of female empowerment constantly throughout this movie, and the sting of psychology is one that proves not all decisions by a leader are easy.
– Responsible in its strategy. Any film about a particular subject has a responsibility to teach strategies to the audience about how to prosper in it, and thankfully ‘Puzzle’ is an education lesson for those of us who have always been curious how to attack a 1000 piece mammoth. Through Robert’s teachings, we learn that it’s sometimes best to circle the table to get a look at the shape of pieces from every perspective. Also, my ages old trick came into play, as you should group the similar colors together so the progression within them becomes that much more obvious. It will inspire you to sit down and open up a box, even if your abilities lack that of Agnes’s instant success.
– Unnecessary R-rating. This film receives the coveted rating for the six times that it drops the F-bomb, four of which being in the same line of dialogue together, and its instances prove how unneeded it truly was in this film. There is a desire to depict authentic family conversations, but this rating does nothing to enhance the comedy or the appeal to younger audiences who will not be able to see it because they are not old enough. Bad decision indeed.
– This film does unfortunately make the move between its two stars that anyone could pick out from watching the trailer. When it decides to make this decision in direction about halfway into the movie, the energy between the leads stalls, and the screenplay writes itself into a corner that will undoubtedly have an unsatisfying ending to anyone watching. This continued cliche in films where a man and a woman can’t be just friends is one that greatly disturbs me, and proves how unimportant everything else becomes because of its unfazed attention to it that overtakes everything else.
– The final ten minutes of the movie are sloppy, and feel like a tug-of-war in the mind of Moverman for his inability to make a decision. Agnes’s final shots left me with more questions than answers, and I get this feeling that two pivotal scenes are missing from the movie that would tie some of those shots that come out of nowhere together. One involves the result of the puzzle competition itself, leaving us to hear what happened instead of being there to embrace it with the two characters, the other is an epilogue between husband and wife that could’ve suppressed some of my second half disappointment in Agnes, but instead has it feeling like an afterthought for what’s to come. Adding an additional ten minutes onto the film would’ve done wonders for the emptiness that the closing moments left me with, bringing to light the obvious weakness in an otherwise movie that fits together wonderfully.