A heavy handed film is the quickest way to turn me off. I’d like to think that I’m somewhat intelligent to the point that I can see a (point) being made. But some filmmakers just aren’t ready to accept my analytical prowess, thus they bludgeon me to death with their messages and socially relevant plot points. What I do find redeeming though are writer/directors who can fathom some form of impartiality in their films. Although this type of filmmaker has become exceedingly rare, I will never give up my quest to find them. Thankfully, the 2010 film year has generated a strong candidate: Lisa Cholodenko, writer/director of The Kids Are All Right. With the rather recent and raging controversy surrounding Proposition 8 in California, The Kids Are All Right, which follows the struggles of a same sex family, could’ve been a film that played the politics up to an obnoxious and predictable level. Fortunately though, Cholodenko passed on taking pot shots at the conservative side, and simply based her film on the pratfalls that can destroy any family.
The film follows a month or so in the life of Nic (Annette Bening) and Jules (Julianne Moore), a lesbian couple who seem happy on the outset. They have a loving relationship which has brought them their two children: Laser (Josh Hutcherson) and Joni (Mia Wasikowska) via a sperm donor. For those who think this film is merely a form of gay propaganda, it’s beyond that. In reality, it’s a film that discusses the growth a family makes together as well the breakdowns that threaten to cripple the foundation of their relationships. Said growth and breakdowns are magnified when Joni, whose curious nature is taking flight prior to her foray into college, seeks out the man who essentially planted the seed for her and her brother’s existence. Enter in Paul (Mark Ruffalo), Nic and Jules’ sperm donor. Initially Paul’s interaction with Joni and Laser is stilted and awkward, but he works his way into their life albeit hesitantly. Despite the worry Nic and Jules develop from Paul‘s arrival, they let him become active in their children’s lives. As you might expect though, introducing a foreign element into a solidified family unit begins to erode the established order. The family’s interests go out of whack and unfortunately, with mounting tension, Nic and Jules’ relationship hit’s a rough patch that seemed like a long time coming. Accompanying the rocky marriage is the notion that Nic and Jules feel like they’re losing their children to a man who has been merely an anecdote in their lives.
Stemming from these issues are many scenes, usually taking place around a dinner table, that force the family to dance around deep dramatic issues with funny awkwardness. Through the breakdown of a marriage and a family, Cholodenko tosses a few plot twists at us that raise the stakes and make her take on family drama seem fresh. Despite an ending that I feel is too hard on one character in particular, the film features an array of family troubles that seemingly encompass the ever changing nucleus of a family. Leading the charge are the Oscar worthy performances from Bening and Moore. With their very first lines of dialogue, Bening and Moore make us believe that these two women, who are practically polar opposites, lovingly gravitate towards one another despite the downfalls they see in each other’s characters. Bening is especially terrific considering her character’s brashness. One false step and she could’ve made Nic into an alienating character, but instead Bening turns Nic into a fragile woman that ends up being the crux for the film’s final emotional moments. The rest of the cast is great, especially Ruffalo who quietly turns in one of his best performances as Paul, an aging hipster who, after meeting the end result of his seed donation, begins to have his biological clock tick.
With the actor’s aside, Cholodenko should be given her due. She isn’t the flashiest of directors, but her ability to stand back and let the story breathe is a marvel. She just shoots her story, and let’s the acting and emotions speak for themselves. Most importantly though, she keeps her film constantly focused on the tale of one family. No politics, no grandstanding, and no right or wrong. It’s just a story about a family coming to grip with the aches of love and an uncharted future. From Jules and Nic’s crumbling marriage to their children exploring a world unknown, the film is constantly turning family ideals inside and out with searing honesty. Even though the family portrayed isn’t a ‘traditional’ one, they proudly represent one of the better ideals of family life: no matter who you are and how bleak the future may seem, your family will be there with open arms.
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