TRUST THE MAN
US, 2005, 103 minutes, Colour.
David Duchovny, Julianne Moore, Billy Crudup, Maggie Gyllenhaal, Garry Shandling, Justin Bartha, Dagmara Dominiczyk, Ellen Barkin.
Directed by Bart Freundlich.
No particular reason to see this comedy of modern New York manners. On the other hand, it has a good cast and is something of a mirror affluent 30 or 40-somethings to see their foibles as well as their faults and betrayals.
The film was written and directed by Bart Freundlich (married to the star Julianne Moore) who directed an interesting film about dysfunctional families, The Myth of Fingerprints, and an objectionable film about larcenous children, Catch that Kid.
The screenplay generally consists of short bits, glimpses into the lives of the two central couples: the married, David Duchovny and Julianne Moore, with two children; and the 7 years together unmarried, Maggie Gylenhaal and Billy Crudup. The married couple have their problems – he ultimately realising he is something of a sex addict and goes for counselling and group work. The unmarried couple have their problems – she wanting children and he not really grown up and with a fear of death and commitment.
A lot of the sequences, brief as they are, seem rather inconsequential. This is one of those films that, if you are to appreciate it properly, needs to be seen right through to the end, where values and commitment prevail. Most of the scenes are conversations with a realistic look but a heightened dramatic dialogue sound. And the resolution, which literally takes place in a theatre and partly on stage, seems more than a little theatrically contrived, extraverted American style.
There are a number of cameos, some less than two minutes, with stars like Gary Shandling and Ellen Barkin. The supporting cast is strong and includes Eva Mendes, Justin Bartha and Bob Balaban.
1. The title? Which man? Men in general, trustworthy or untrustworthy? Men learning, failing, changing, succeeding?
2. A New York story, apartments, the streets, restaurants, the theatre, book publishing? The men at home? Schools scenes? The characters as types? The musical score?
3. The interconnection of the stories, relationships, meals and discussions, phone calls?
4. Tom and Rebecca, at home, the father at home, picking up the children from school, playing with them? The scenes with the young people? And meeting Pamela at school? Rebecca, cooking meals, at home, an actress, her life in the theatre, the theatre types, Jasper, rehearsals, her confidence and lack of confidence? Performance and acclaim? The outings, the couple talking with Elaine and Tobey, Tobey and the tensions? the yearly visit to the psychologist, sexual issues? Tom, flirting with Pamela, going out, the sexual relationship, breaking it? Rebecca and friendship with Jasper?
5. Tobey and Elaine, partners for seven years, her work, the boss, his staying at home, watching television? His slob style? Elaine wanting to have babies? His reluctance? His relationship to Rebecca? Yet conversations, meetings, phone calls to Tom? A man of moods, the breakup, his resentment at the new man in Elaine’s life, at the meal at Tom and Rebecca’s, going to the other room, arguing loudly with Elaine? Promising to change? Elaine, her work, success, the children’s books, Tobey and his advice? Her meeting with the agent, the sexual advances? The new partner?
6. And the past knowledge of Tom, her new husband, flirtatious, at the club?
7. Dante, with Tobey and Elaine, eccentric manner, Minister, performing the ceremony at the end?
8. Toby’s psychologist, their meetings, Tobey’s questions, ending the meetings? The psychologist walking along the road, talking on the phone, Tobey
following him and questioning him?
9. The theatre, the performance, the end, Tom trying to get the flowers and being pursued by the usher, the curtain call, Tom and his declaration, going on stage? Tobey, calling out to Elaine, his apology, the audience listening and applauding?
10. The future? optimistic, mistakes, but…?
