THIS IS WHERE I LEAVE YOU

US, 2014, 103 Minutes, Colour.
Jason Bateman, Tina Fey, Jane Fonda, Adam Driver, Rose Byrne, Corey Stoll, Kathryn Hahn, Connie Britton, Timothy Olyphant, Daz Shepard, Debra Monk, Abigail Spencer, Ben Schwarz.
Directed by Sean Levy.

Some years ago, there was a Jewish film called Seven Days/Shiva, about a family observing Shiva, sitting in the house for the week, mourning the dead. This film is a very American version of Shiva, often raucously so. It is based on a novel by Jonathan Tropper, who wrote the screenplay for the film.

This is a story of the death of the father of the family and the assembly of brothers and sister as seen from the point of view of the second son, Judd, with Jason Bateman in the role, using his talent for comic timing but having a much more serious role than usual. Within minutes of the opening of the film, he discovers that his wife has been having an affair with his boss. He sits glumly and then receives the news that his father has died.

The sister is Wendy (Tina Fey), unsatisfactorily married with two children (one of whom is continually seen with his potty, doing his training in public – and one wonders what this little actor will think and feel when he watches this film in 10 years time, 20 years time!). The older brother, Paul (Corey Stoll), has stayed close to his father, managing the family store, and trying with his wife, Annie (Kathryn Hahn), quite intensely, to become pregnant. Then there is Philip (Adam Driver), much younger, brought up by Wendy as a mother figure, now irresponsible, self-absorbed, bringing his former therapist Tracy (Connie Britton) who thinks she is in love with him.

As can be seen by this small summary, the potential for conflict is mighty – and is seen in many sequences, verbal clashes, physical clashes, comparisons, psychological rivalry…

And all is presided over by the matriarch, Hillary, who is played by Jane Fonda, still looking glamorous in her mid 70s, but, as part of the humour of the story, she has silicone enhanced breasts (of which she is not at all ashamed). She has written a book in the past about families, with thinly disguised portraits of her own children. She has now called them together, loves them, tries to help them, while still rather airily going about her carefree way of life.

As if the family is not enough, there is the neighbour, Horry (Timothy Olyphant) who was in love with Wendy but suffered brain damage in a car accident and is still at home. His mother, Linda (Debra Monk) is in and out of the house, providing some of the refreshments. And yet another character. Rose Byrne is Penny, who still lives in the town, has had a crush on Judd in the past, finds matters complicated when he returns, but is a woman who is very direct, speaks her mind, and often with commonsense.

Stir all of this together, and we have the close family sitting in the one room, forbidden to go out of the house (which is interpreted exceedingly freely), have them go to Temple, presided over by the siblings’ friend, now a rather trendy Rabbi resenting his family nickname of Boner.

Here we have multi-multi problems, often taken seriously, sometimes exuberantly, and sometimes treated farcically. Many audiences may think it too much – especially a final revelation much too late, dramatically speaking, in the film and barely prepared for, which makes it somewhat implausible.

Some years ago there was a film called Life as it Is. A religious reviewer found it very objectionable, stating that it is better to have stories about Life as it should be. In fact, our lives are life as it is, messy, sinful, hurtful as well as striving for some kind of happiness and decency. This is what this film is like, raucous and rude, silly and serious, with an underlying family warmth that does not always come out the right way.


1. A slice of American life? Jewish life?

2. The town, family, the past, the parents, the children growing up, memories? Those who stayed, those returning? The effect?

3. The house, the interiors, the group confined in the house, the room, for Shiva? The rooms, the basement? The family going out, the homes, roads, shops, the ice skating rink? The musical score?

4. The death, the decision of the mother? To observe Shiva? The ceremonies, and the Temple, the role of the Rabbi, friend of the family, his comments?
The home visits of relatives and friends? Sitting together? Sharing? Seven days in the house?

5. The potential for clashes? Dysfunctional families?

6. The mother, not Jewish, husband, at his death, pulling the tube out? Her book, recounting the lives of the children, thinly disguised? Fame, copies, autographs? With each of her children, love, interactions, assessing their lives? The surgery, false breasts? The jokes? Her wanting the children to be altogether?

7. Judd and, his story, perspective? Work at the office, relationship with his boss, the cake for his wife, discovering them in bed? The effect, grim and glum? Cutting off his wife? Decision to divorce? The past, the miscarriage, the effect on each of them, his becoming more distant? His place and his family, with Wendy children, Paul as older, Philip as reckless? Encountering Penny, the talk, the past, going out, the sexual relationship? Wendy’s prediction about Judd, with Penny, the reconciliation? The brothers and the fighting? Temple, finding marijuana in his father’s coat pockets office? Sad, his wife’s visit, the clashes, the pregnancy, the miscarriage, contacting him, also his boss? Paul and the talk about the future, the store, Philip and his job? The final discussion with Penny, the possibility for return?

8. Wendy, mother, the children, husband and his absence, going to England publicity for business? The baby, the little boy and his potty? Horry, the past, his accident, Wendy leaving, marrying? Visiting him, regrets, sexual encounter? Her philosophy of life, cherishing the few happy moments?

9. Paul, the eldest, the store, staying, marriage to Annie, her past relationship with Judd? The efforts made to get pregnant? The fight between the brothers? Smoking pot at Temple? Catching Annie with Judd? His hopes, promises fulfilled? The father’s will, the division of the estate?

10. Philip, young, irresponsible, being brought up by Wendy? Bringing Tracy, therapist? His eyes on the girls, driving with Judd and, leaving him at the rink, bringing with the girl? The fights between the brothers? Tracy realising his immaturity and leaving? His new job in the store – lasting or not?

11. Penny, the past, staying in the town, her frank and direct speech, talking with Judd and, his going to the skating rink? Their sexual encounter, its meaning? Penny and the futurel? The final advice, Judd possibly returning?

12. Horry, the accident, staying the town, the store, the mental disabilities? His mother? With Wendy?

13. The character of the Rabbi, friend with the boys in the past, his role Temple, the visits to the house, his trendy style, his resentment of the boys nicknamed him, Boner?

14. Hillary, Linda in the house, the revelation of the relationship? Credible? Too much and this particular moment of the drama?

15. Life is it is – rather than life as it should be?