2019 Favorites: December — Marriage Story
Noah Baumbach delivers a cutting, nuanced look at a relationship that has fallen apart and how two people manage to restructure those pieces.
In a venture that is equal parts keeping track of some of the favorite things that happen in 2019 and also stretching my writing muscles to think about things other than sports (and more specifically), I’m going to post about my favorite things I come by each month. That includes anything from a movie to a tweet to a great meal. Here’s to enjoying, and remembering, the best parts of the year.
January: Maggie Rogers’ Heard It In A Past Life
February: Desus & Mero Return On Showtime
March: Sabrina Carpenter Concert @ House of Blues
April: Game of Thrones “A Knight of the Seven Kingdoms”
May: Florence + the Machine Concert @ T-Mobile Arena
June: Booksmart
July: Ashlyn Harris’ World Cup Instagram story
August: The Farewell
September: A Fortune For Your Disaster
October: Looking For Alaska (Hulu)
November: Parasite
Favorite of the Month: Marriage Story
In a story centered on the dissolve of a marriage, Noah Baumbach’s Marriage Story is alive with humanity and love in the most tender and savage ways. The movie thrives in the lived-in, earthy feeling of deeply knowing a person and the conflict of having that relationship investigated by people arguing for one party in that relationship.
Looking at this film in the Baumbach-canon, the most natural comparison is The Squid and the Whale, which also centers on a divorce. Whereas that movie turns its gaze more toward the impact the separation has on the family’s two kids, Marriage Story grounds itself between the divorcees, played by Adam Driver and Scarlett Johansson. While we meet their relationship at its end, there’s a lot of work done to prove a divorce does not mean a loss of love. From the beginning, we learn what the two have come to find endearing in one another, and the tragedy comes where the negatives still prove too much to stay together.
Whether it’s a gaze in the courtroom or fixing a fence together, the actors convey the awkward acknowledgement of a remaining spark while also allowing better judgement to win out. With that in mind, the grind of the divorce comes to a head mostly in Driver’s character as he splits his life between his career in New York and his divorce case across the country. This twice comes to a head in his sad-divorced-dad apartment in Los Angeles. First, in a climactic argument between Driver and Johansson that — while it isn’t any sort of action scene — is as emotionally thrilling as any set piece this year.
To have the person who knows us most intimately take advantage of that knowledge and twist a proverbial knife in an argument is a pain that only the vulnerable are able to access. The escalating anger melts once Driver shows visible remorse after unforgivable words escape his body. As he crumples, so does the anger in the room. It’s a tricky thing, to hurt and be hurt so deeply that the only person who can bring comfort is the same person with whom you exchanged those jabs.
Baumbach movies tend to feel familiar in the same essence as the way he films New York City. They feel contained in scope, but his investigation of human interaction, emotional development (or lack thereof) and how those things might intersect is the vast playground in which he pens his humorous and cutting dialogue. Often, a joke’s punchline will thread its way across multiple scenes, sometimes entire movies, paying off in a different way than first delivered. A viewer doesn’t need to have experienced marriage to take Baumbach’s assignment of self-evaluation.
The tender moment at the end of the movie feels like a last embrace, one that so desperately wants to tell the other person everything is going to be all right even though you both understand that is never a guarantee. What’s sure, though, is that Baumbach created another devastating story sprinkled with humor and ideas that will force you to return to it either in thought or on Netflix.
Honorable Mentions:
Little Women (2019)
Greta Gerwig knows how to capture your attention with her first frame in such a gripping way that is surprising given how quiet that hook might come. Honestly, I’d be hard pressed to dislike a Gerwig-directed movie starring Saoirse Ronan, Florence Pugh, Emma Watson, Meryl Streep and Timothee Chalamet, but that does not take away from what a lovely and rewarding movie this is and will continue to be upon multiple viewings.
The Mandalorian
Beyond Baby Yoda — who is properly hyped — The Mandalorian is everything I can’t imagine when I say I want to live in a world a little longer. Everything has a Star Wars feel to it without needing to pay service to 40 years of mythology but rather utilizing it. The stakes are wonderfully low, the adventures are exciting, and yes, Baby Yoda is freaking adorable.
A Beautiful Day in the Neighborhood
HAAAAAAAAANKS. Part of me wishes this movie just centered on Tom Hanks as Fred Rogers because he brought so much wonderful deftness to each frame he occupied, but it’s understandable to circulate the plot around someone whose heart is forever changed by Mr. Rogers. It was at times difficult to differentiate where Hanks stopped and Rogers began in the performance. Maybe that is a complement to the casting choice, but either way, it was a joy to spend time with either man.
Waves
Trey Edwards Shults does the absolute most to take advantage of the visual and auditory aspects of a movie, and he created a visceral experience. Sterling K. Brown looms over the entire movie, but Kelvin Harris Jr. and Taylor Russell carry the weight of all that happens. This movie felt singular in what it contained. Grounded yet astronomical in its courage.
Salsiccia con Patate pizza @ Cibo (Phoenix, Arizona)
I mean, I have nothing constructive to say outside of the fact that Cibo is great. From the atmosphere to the food, it’s a wonderful spot that always delivers.
Star Wars: The Rise of Skywalker
At times, you could almost feel the weight of wrapping up the saga (for now) buckling the knees of the movie, but it was still entertaining as hell. I’m buying all the John Boyega stock, and I’m thankful that Daisy Ridley and Adam Driver were able to deliver such an interesting dynamic at the center of a wildly inconsistent trilogy that I will still hold close to my heart. The Last Jedi is the real winner in all this, by the way.
Merry, Happy, Whatever (Netflix)
It’s a classic sitcom taking place around Christmas featuring a laugh track. But it also has Dennis Quaid, Ashley Tisdale and Bridget Mendler in the cast. It’s heartwarming, cheesy and perfect for the holidays. By the time I was a few episodes in, my girlfriend and I couldn’t wait to see what the characters were up to in the next installment. It’s nice fun that I’ll probably return to next holiday season if they don’t bring everyone back for another holiday-themed season.
