Directed By Marielle Heller
Starring – Melissa McCarthy, Richard E. Grant, Dolly Wells
The Plot – Lee Israel (McCarthy) who made her living in the 1970’s and 80’s profiling the likes of Katharine Hepburn, Tallulah Bankhead, Estee Lauder and journalist Dorothy Kilgallen. When Lee is no longer able to get published because she has fallen out of step with current tastes, she turns her art form to deception, abetted by her loyal friend Jack (Grant). An adaptation of the memoir Can You Ever Forgive Me?, the true story of best-selling celebrity biographer (and friend to cats).
Rated R for adult language including some sexual references, and brief drug use
– Above all else, I interpreted this as a film about friendship, and its one between Lee and Jack that makes so much of the film delightful. These are nearly two strangers who meet and soon find out that they balance each other out. It’s refreshing because they aren’t romantic interests, but rather sharing of a deeper soul connection that each of them so desperately needed to fight the depths of loneliness and isolation. The banter between them is so exquisitely polished, forcing you to hang on to every word between them, and the impeccable chemistry cements this as one of, if not the best, duo of the 2018 film year.
– Bad deeds, good people. It’s a difficult task to indulge on characters who do such illegal and condemning activities, but the film’s outlining of Lee’s undesirable disposition showcases a side to crime that certainly any of us could easily fall into. The motivation from her is fighting back against a life that has beaten her down constantly, therefore when the opportunity arises not only to fight back, but fight back against the system, she more than earnestly accepts. Even with all of this however, the film is responsible enough not to support these decisions, informing us of the steep price to forgery that comes with playing the game. Unconditional love and understanding goes a long way.
– Strong humor without the gimmicks. Yes, this is a drama first and foremost, but that doesn’t mean that McCarthy doesn’t get to show off her comedic presence, which is among the most popular in the business currently. Why the humor works so much for me here, instead of films like “The Boss” or “Life of the Party” is because she isn’t amped up to eleven. Her delivery is very much subdued, relying instead upon brilliant script writing and caustic wit to sell her presence on the film. This is the McCarthy we should be getting more of, and with any luck the film will succeed, proving to her that money is only so important.
– A buzzworthy duo of performances. This is definitely the McCarthy and Grant show, as both accomplished actors bring with them not only a faithful visual transformation to their real life counterparts, but also stirring renditions that have them in award season contention. For Grant, it’s his soft demeanor and gleefully dim-witted delivery that make him the perfect compliment to McCarthy’s lead. For her, it’s Israel’s gruff personality, striped down makeup, and rocky interaction with humans (She loves her cat) that offers something of substantial difference for McCarthy as an actress. There’s an element of sadness in her character, in that her whole career as an author has been to represent someone else’s work, and this cements a level of empathy in Melissa’s and the film that is required to invest in both.
– Colorfully illustrated New York in 1991. Most films would depict this as an excuse to get distractive with the gimmick of the setting, but Heller incorporates a subtle nuance to the big apple that never gets in the way of the unfolding events. It’s almost like you have to look closely to spot the time frame’s dated references, like IBM computers and classic automobiles to name a few, but they’re most certainly there. The cinematography as well, caters to a somberly yellowish faded design of coloring that gives the film that distinct feel of a particular era.
– Can you seriously remember the last time when two gay characters were a film’s two leading protagonists? Points for a film set in the past with such progressive ideals, that does so in a way that is neither insulting, nor incredibly over-the-top for revealing this fact. The orientation of these characters is important enough to the story, but feels secondary to outlining them as people first, and the sooner that we as a society blur the line of similarities to someone with a difference in orientation, the more likely we are to see more stories like them.
– Heller as a director does a superbly, fast-paced job that is responsible for nearly everything that I mentioned above. Aside from her film feeling incredibly engaging from the very start, the film doesn’t have a single scene in it that doesn’t harvest some level of importance to what is unfolding, and that speaks levels to a director who makes the most of her allowance of time. On the commentary side, it’s clear that Heller values Israel as a figure that time sort of forgot, but does so without diminishing the faults that make her an equally compelling antagonist as she is a protagonist. This is a director whose filmography is every bit as expansive in genre offerings as you can ask, and it’s got me curious to see what she will tackle next.
– A family affair with an extremely underrated musical score. Composed by Marielle’s brother Nate, there’s a strong reflection of this film being a character study, reflected by some heavily influenced jazz tunes that are incorporated into the serenity of this picture. It’s never overbearing, nor out of synth when compared to what transpires on screen, and that sense of light-hearted atmosphere in music ages well as the film takes us through some heavy threats that come the way of Lee’s newfound hobby.
– Lack of urgency with the third act weight of consequences. While the repercussions of Lee’s choices are inevitable, there’s an overall absence of anxiety missing from the film that would really elevate the tension of getting caught. It’s not a major problem, it just keeps us, and Lee for that matter, free from the kind of motivation required to quit. I could’ve used slightly more teasing within the script to warn Lee to back off. Without it, the final act of the movie feels slightly rushed, and really stands out at the only problem with the screenplay.
– No surprises beyond what is shown in the trailer. The trailer itself isn’t full of spoilers like other terribly constructed ones these days, but rather it paves and easy path to predicting what will transpire here. The sequence of real life events itself are limited, so there isn’t a lot of wiggle room for bombshell announcements or surprises, so it feels remotely pedestrian as a compelling drama. For my money, the film succeeds more as a comedy, and that’s a bit of a letdown because the performances feel very dramatic when the script doesn’t fully meet up with them.
My Grade: 8/10 or A-