Directed by Jesse Peretz
Starring – Rose Byrne, Ethan Hawke, Chris O’ Dowd
The Plot – Annie (Byrne) is stuck in a long-term relationship with Duncan (O’Dowd), an obsessive fan of obscure rocker Tucker Crowe (Hawke). When the acoustic demo of Tucker’s hit record from 25 years ago surfaces, its release leads to a life-changing encounter with the elusive rocker himself. Based on the novel by Nick Hornby, the film is a comic account of life’s second chances.
Rated R for Adult language
– Surprisingly funny dialogue. Hornby as a writer has always been one of my favorites, but what this trio of writers does is add a much needed layer of humility to compliment the feel good side of this story. I did not expect to laugh as much as I did throughout this film, but it’s a testament to these flawed characters, in that the film puts up zero walls in making them feel relatable.
– If a movie that revolves around music can’t conjure up an eclectically rich ensemble soundtrack, then it will fail before it ever lifts off the ground. Thankfully this isn’t a problem for ‘Juliet, Naked’, as we are entranced by offerings from Indie gods like Ryan Adams, Conor Oberst, and M Ward. But the question remains, can Hawke sing? That answer is a resounding yes. Covering a song as revolutionary as The Kinks ‘Waterloo Sunset’ is no small task, but Hawke vibrates with an electric piano, giving the song the raspy rhythm in vocals that brings new life to the decades old classic.
– Strong performances all around from this trio of magnetic actors. Hawke portrays Tucker as this sort of bumbling everyman that eclipses his fame to those who come into contact with him, never allowing him to feel self-pitying or overly depressive for the wrong decisions he’s made. Chris O’Dowd is also warmly annoying as this obsessed fan of Crowe’s. He commits himself in the way he looks at and tenderly tap-dances around the way he speaks to his idol, and there’s something rich with authenticity in his performance. Byrne takes the cake however, as her withered heart makes her someone we as an audience can engage in. Annie’s the kind of woman who wants the same things that every woman should be entitled to, so when the movie depicts the cruelty in her wishes being overlooked, we can empathize with her situation, and Byrne was made for the Romantic Comedy stage, as she glows with immense wit.
– As a director and musician, Peretz is gift-wrapped for this diatribe against middle age, nuancing an underbelly of regret that pops up front-and-center to remorse about a lifetime of wasted energy. But instead of mellowing out the material, there’s an inspirational side to his acting that tells us to keep moving through the complicated, and travel miles if you have to in seeking what you deserve. This is overall one of those films that just fill you with its charms and warming side, and it’s impossible not to credit Peretz for how hip he depicts middle age, giving hope to those of us not far from that downhill turn.
– Effective camera work to hide something in particular. As to where most reviews I credit the way a scene captures a person or place for its expressive angles, but the compositions here work their magic in omitting Byrne’s six month pregnancy while filming. There’s plenty of medium to close-up shots that keep the actress’s face in frame, and a lot of carefully placed accessories, like handbags and laptops, to take attention away from her mid-section. I think it’s great because Byrne didn’t have to turn down a role, and the production team glitters their Hollywood tinsel in the thought process that what the audience don’t know won’t hurt them. Well done.
– My problem with romantic comedies in general is they often follow a predictable formula where two leads extraordinary in lifestyles are picture perfect for one another, and we’re supposed to get behind them as protagonists. But with Tucker and Annie there’s certainly a theme of opposites attract that plays out through the growing feelings between them, and the general distinction that these two are anything but polished perfect leads. Tucker, to be frankly honest, has made some seriously shitty decisions in his life, and Annie limits her potential staying with a man who constantly mentally abuses her. So it’s certainly easy to get behind these two, and hope that love finds a way, and there’s little conventional about the road that works its way to their first interactions.
– What I found compelling about Crowe’s involvement in Duncan and Annie’s lives are that each of them view it as a form of cheating deceit towards the other. For Duncan, he must vanish and listen to a new Crowe album in privacy, and for Annie it’s obviously communicating with the rocker on e-mail, far from Duncan’s eyes and ears. This is obviously played out for humor, but it translates the real lack of affection from Duncan and Annie’s relationship that limits their growth for something as miniscule as sharing. If this wasn’t enough, Duncan is a PC guy, and Annie is a Mac girl. Doomed from the start.
– Conflict issue. As is the case for every film, there is a third act conflict involving a separation between the two love interests, and for me it just didn’t feel like a big enough obstacle for it to matter as much as it does. This is an example where the novel does it much better, adding depth in miles to the physical distance between them that better articulates the obstacle. It doesn’t feel natural in the slightest with its arrival, and if the two characters would sit down for even a brief moment, they could clear the air with much needed communication.
– For a story that is every bit against the grain of romantic comedies in material, the overall aesthetic for the film feels uninspired and too content in sliding by on average. Nothing is truly compromising to the integrity of the film, but nothing in the cinematography or coloring for the movie ever takes chances with instilling style. Most of the film takes place during daytime sequences, so there’s a missed chance to instill some of that wet streets vibe of England with the neon glow coming from the town bars. Overall, it makes me wish more chances were taken for Peretz to find a vision of his own, but as it stands ‘Juliet, Naked’ is a cover of every other soft lighted romantic comedy that came before it.
– One of the elements in subplot that simply didn’t work for me is the set-up involving a musician who has zero affiliation with music left in his body, somehow manages to come across and read deep into the comments about him. Throughout the film, it’s made evident that Crowe hasn’t performed or even picked up a guitar in decades, so how are we as an audience to believe that this guy randomly surfs fan-made websites to read what people thought about music that he made over twenty years ago? Yet it’s required because how else would he begin to communicate with Annie via e-mail? It’s too sloppy in logic for my taste.