BARNEY’S VERSION

Canada, 2010, 134 minutes. Colour.
Paul Giamatti, Rosamund Pike, Dustin Hoffman, Minnie Driver, Scott Speedman, Bruce Greenwood, Rachelle Lefevre, Mark Addy, Saul Rubinek, Atom Egoyan, David Cronenberg, Denys Arcand, Ted Kotcheff, Maury Chaykin.
Directed by Richard J. Lewis.

We all have our own versions of our lives, whether they be accurate or not. Those who have shared our lives with us, or those who have been influenced by us, will have their versions, possibly, even probably, quite different.

Montreal Jewish novelist, Mordechai Richler, chronicled stories of his home city in novels, stories and essays. He was not always a benign critic. Barney’s Version came later in his career, many noting the autobiographical connections. Film versions of his novels include Ted Kotcheff’s fine The Apprenticeship of Duddy Kravitz (1974) with Richard Dreyfuss and Joshua Then and Now (1985) with James Woods. Barney’s Version stars Paul Giamatti, who won a Golden Globe award for his performance.

The place is Montreal, with some excursions to New York City. The time settings go back to the 1970s and move through the ensuing decades.

However, Barney’s Version is not a straightforward, linear narrative. The audience is invited to share Barney’s memories, the memories of an older, sardonic, gruff and blunt, disappointed, alcoholic man who may not be able to hold on to his memories for much longer. Giamatti shows his ability, first of all in making an on-paper unpleasant character interesting to watch, and, secondly, in portraying the changes that the decades and his experiences make on Barney.

A major focal point for the storytelling is Barney’s marital experiences, illustrating the kind of person he was at particular stages of his life. While we are introduced to him as a curmudgeonly older man, stuck in his TV work (a serial that has gone on for years), pestering his ex-wife’s husband, cared for by his daughter, we are taken back to his rather more carefree days in Rome, a kind of bohemian life with artistic friends and a sudden marriage to a pregnant girlfriend (Rachel Lefevre) which does not last long. We are also introduced to his best friend, a frequently drug-sodden writer, Boogie, (Scott Speedman) – and are puzzled by the arrival (in the present) of an aggressive detective (Mark Addy) who has written a book accusing Barney of the murder of his friend. Enough questions and enigmas to keep us wondering.

Barney’s second marriage is to a dominating ‘Jewish Princes’, played with presumptuous verve by Minnie Driver. She has one of the most disapproving fathers in movies. His disdain of Barney in so many scenes is very entertaining in a morose kind of way. But, at the wedding, Barney glimpses Miriam (Rosamund Pike), falls in love and continues over time to pursue and hound her. Eventually, they do marry and spend years together. And, even more eventually, Barney ruins things. Rosamund Pike is a standout in the film. She portrays Miriam with sensitivity and charm, making the audience appreciate how Barney can be infatuated by her, love her, marry her and remain married to her for years. She is a good and patient woman.

But, the actor playing Barney’s father, a rather outgoing, randy former policeman not noted for tact, is Dustin Hoffman – a solid reminder of what a scene-stealer he can be. (It is not only older actresses who play mothers on screen, now it is older actors who play fathers, Hoffman and Jack Nicholson in How Do You Know.)

This is a Canadian production and three prominent directors have cameos: Atom Egoyan and David Cronenberg as directors of the series and Ted Kotcheff as a train conductor. Bruce Greenwood is the producer who later marries Miriam and Jake Hoffman (Dustin Hoffman’s son) plays Barney’s son.

The film is over two hours long and not all audiences will be enthralled by meeting Barney and becoming involved in his life. But, for those who do, the story is intriguing, the ending moves towards a pathos we were not anticipating, the performances are of top quality. It is a portrait of a flawed (very) human being, warts and all – but, ultimately, not irredeemable.

1. Mordecai Richler and his writings? His place in Canadian literature? Film versions? The portrait of 20th century Canadian males?

2. The critical success of the film? Paul Giamatti and awards?

3. A Canadian story, universal? The settings, the city of Montreal, over several decades, changes? Workplace, television studios, homes, social life? Country homes and the lake? The contrast with the sequences in Rome? The world of Roman culture, art, bohemian lifestyle?

4. The structure of the film and Barney’s version? The range of other points of view on Barney and his life? His wives, his father, son, daughter, his friends, the hostile detective?

5. Barney’s version, self-deprecation, self-condemnation?

6. Barney in his life, as young, his relationship with his father, the policeman, his effect on his son? The bonds between them? Dustin Hoffman and his vital performance? Listening, advice, issue of marriages, at the wedding, his father’s own personal life, flirting, the girls, giving Barney the gun? Joie de vivre? His death, with the prostitutes, Barney and the arrangements?

7. The sequences in Rome, Barney and his work, art, his range of friends, their lifestyle, Clara, the relationship with Barney, with the other men, Barney’s hopes? Clara, her pregnancy, the pressure on Barney, the wedding? The birth, the role of the doctor? Her death? Barney and the question about the child and its parentage? His return to Canada?

8. Barney and his uncle, the TV work, the long-running series, the star as a prima donna, her fans in Bulgaria, Barney supporting her over the years – and the final revelation that Barney wrote the letters supporting her? The range of directors on the series – and the cameo appearances of Canada’s best directors? The world of television?

9. Barney and his drinking, his moods, his capacity for being unpleasant, antagonism?

10. His meeting the second Mrs P? His initial response? Her liveliness? Her family, her being treated as a Jewish princess, the meal, her parents and their disapproval? Discussions, the wedding, the celebration, the wife dominating the celebrations? Barney and his second thoughts?

11. Barney glimpsing Miriam at the wedding, talking to her, her judging his behaviour inappropriate? Going to the railway station, Miriam in the train? Barney following the train? On the train?

12. The role of Boogie, his friendship in Rome, shared interests, style? Boogie and his drinking? The visit to Barney, their interactions, the clash? Boogie going for the swim, his disappearance? Barney blaming himself?

13. The detective, blaming Barney, the years passing, the investigation, having no case? The detective following Barney, haunting him, rebuking him? His book? The irony of the body being found years later? Barney innocent?

14. Miriam, her love for Barney, a good woman, the family, the children? Her radio work? Barney’s visit? The separation after so many years? The reasons?

15. The effect on Barney, his marriage, over the years, Miriam’s patience? His relationship with his son? His infidelity, hurting Miriam, the separation?

16. The audience hearing about Blair, the daughter’s phone call, Barney and his taunting? Blair and his meeting Miriam, the radio work, the opportunity, the career? Barney listening to Miriam, her choice of music?

17. Miriam, long-suffering, the development of her career, the support from Blair, marrying him, her new life?

18. Barney, his relationship to his son, to his daughter?

19. Barney and his declining, health, the need for care, his being loved? Revelations about what he was really like, the example of the fan letters to the actress on the TV show? His being a nicer person than he showed?

20. The effect of Barney’s version, the structure of the film moving in and out of different time zones, the cumulative effect of the portrait? How accurate was Barney’s assessment of himself? The audience’s assessment of him?