As a film enthusiast with a soft spot for romantic comedies and a hard-earned wisdom from decades of movie-watching, I must say that “And Mrs” is a bit like a box of chocolates – full of unexpected flavors, but not always in a good way.
The concept behind And Mrs seems to have originated following someone’s discovery of the term “necrogamy” during a Wikipedia browse. Necrogamy refers to a marriage where one of the partners is deceased, initially conceived to offer financial assistance to war widows. Newcomer director Daniel Reisinger intends to delve into the theme of coping with grief through an innovative lens, with Aisling Bea portraying a London resident who chooses to go ahead with her wedding despite her fiancé’s (Colin Hanks) untimely demise.
Instead of openly discussing his ideas on handling such sorrow, Reisinger chooses to conceal them within the comfort zones of romantic comedy tropes and Melissa Bubnic’s humorous script. Although a profound exploration like ‘Harold and Maude’ was not anticipated, Reisinger’s film, while occasionally funny, oversteps by diluting its meaningful concept with forced humor, stripping away too much of the raw, real-life complexity in the process.
Rom-Com Clichés and Dealing with Grief Make an Awkward Mix
The film appears to be set in London, but it actually unfolds in an underdeveloped part of Richard Curtis Town, characterized by dappled sunlight, lively tunes, and quick-paced split screen transitions. Here, our protagonist is immersed among a typical group of eccentric sidekicks.
As a movie enthusiast, when I first encounter Gemma (Bea), she appears content with her fiancé Nathan, portrayed by the charming Hanks, who shares the effortless kindness reminiscent of his father, Tom Hanks. However, an unfortunate fatal embolism claims Nathan’s life while he was simply putting on his socks, leaving him not absent from the story but revisiting us in flashbacks that trace their relationship growth. These flashbacks are crucial, as they shed light on Gemma’s hesitance towards marriage, expressing her belief that all families have their share of imperfections and complications.
Initially sparking the plan is Gemma’s determination to marry Nathan, even though he’s deceased, a seemingly impossible feat requiring official approval. Pivotal in this endeavor is Nathan’s estranged sibling, Audrey (Billie Lourd), who arrives from America unaware of Nathan’s demise. With her vibrant pink hair and pregnant belly, Audrey, the eccentric character, appears more like a bundle of oddities and humorous lines than a convincing personality. She serves to inject an element of unpredictability against Gemma’s subdued demeanor.
The Dialogue Is Outrageous But Not Very Funny
In Bubnic’s screenplay, there’s frequently an air of comical desperation as Audrey is given worn-out lines that are meant to be outrageously funny (though perhaps “seize your feminine parts” could spark some creativity in you). However, it seems like the logic behind Audrey’s actions isn’t always taken into account. Moreover, there’s barely any trace of realism in the scenario where Audrey and Gemma disrupt a government conference on sex work to get close to the Lord Chief Justice (played by Harriet Walter, who is both sly and steely). This scene feels contrived, and her clumsy advance towards Gemma appears to be an unnatural attempt to introduce conflict at the last minute.
Essentially, Gemma’s deep state of grief avoidance makes it challenging for her to express her pain, preventing a deeper connection with others. This emotional barrier creates more space in the storyline as Gemma and Audrey frequently seek help from the Lord Chief Justice and travel to America to meet Nathan’s mother (Elizabeth McGovern).
The scenario also allows for less captivating supporting characters to grab the spotlight. The friendship between Gemma and Ruth (Susan Wokoma) along with their mother Lorraine (Sinéad Cusack) attempting to halt the wedding is a smart utilization of secondary characters. However, it becomes an absurdly implausible diversion when Ruth’s storyline unfolds, involving her urinating on a dance floor and being rescued by Nathan’s friend who pretends to do the same in front of her.
It would take a mighty deft hand to emulsify all these tones and storylines, but the filmmakers can’t muster one. That’s nowhere more evident than during the long-awaited wrap-up, where an upbeat Partridge Family ditty is followed by end credits that feel like a mawkish punchline thanks to the accompaniment of Bette Midler’s ballad, “The Rose.”
Aisling Bea Rises Above the Contrivances
In this show, what truly shines is the captivating Bea, played by Mrs., serving as our guide in navigating the dense forest. Lourd appears eager to take on any challenge, yet constructing a believable character from scattered comedic elements and controversial speech patterns turns out to be an insurmountable feat. True to form for this genre, various supporting characters come and go, with some leaving a positive impact such as Paul Kaye portraying the world’s most inept eulogist and Nish Kumar as a clueless pub owner who manages to win our hearts.
A main character in a movie about grief avoidance naturally avoids talking about grief. So when the film moves beyond the comic reversals and girl power moments and finally gets down to business, it’s disappointing that it has nothing new or insightful to say about the grieving process. It’s also surprising: The film’s production notes mention that Reisinger’s mother died of COVID (Lourd’s mother is Carrie Fisher, who died in 2016). Such tragedy is often the springboard for great films, and it’s up to the artist to mine these events for their essential truths. And while humor is often a legitimate way to explore universal issues, And Mrs goes too far in a mainstream direction, sacrificing valuable insight for cheap laughs and pretty pictures.
Starting September 27, the film “And Mrs” from Vertigo Releasing will be available for a limited time in theaters, followed by streaming on various digital and on-demand platforms, as well as on Netflix UK.
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2024-09-27 01:02