THE LOVERS
US, 2017, 97 minutes, Colour.
Debra Winger, Tracy Letts, Aidan Gillen, Melora Waters.
Directed by Azazal Jacob.
There have been many films with this title. One of the differences for this film is that the central protagonists are aged 50.
We are quickly introduced to each of them, Michael involved in an emotional argument and clash with someone who may be his wife or girlfriend, Lucy. Then we see Mary, involved with a younger writer, Robert.
And then, the scene shifts to their home and we find that Michael and Mary are married and have been for 25 years. They have an adult son. At home, there seems to be a certain amount of intimacy but also a certain amount of tension. And we see both of them at work, realise that each of them is carrying on an affair, covering the affair by excuses at work, but not confiding in each other.
So, the scene is set for an explanation of relationships. It would have been more accurate to have in the title, instead of “love�, fidelity and infidelity.
What exactly Michael sees in Lucy, a very temperamental ballet instructor might puzzle some audiences. And, the writer is rather full of himself and difficult to see what attracts Mary to him.
The film has a strong cast with playwright Tracy Letts is Michael, Debra Winger making a rare screen appearance these days as Mary, Melora Waters is Lucy and Aidan Gillen as Robert.
Michael and Mary intend to separate but are waiting for their son to come home for a visit and to tell him. He is particularly bitter against his father, seeing him as seriously unfaithful. The young man turns up with his girlfriend and, as always in a film like this, there is a meal sequence with all kinds of tensions. The truth is exposed.
So, Michael and Mary separate, take up with the new respective partners – but the ironic question arises whether the affairs are completely satisfactory now that they become more stable relationships and whether some infidelity, between Michael and Mary on the side, is still necessary for their emotional life. While the characters and plot may resemble a lot of real life, the screenplay takes a rather distanced view of marital love, especially after 25 years (although the son and his fiancee are intending to be together for life), so it is all rather amoral.
1. The title, real lovers? Ironies? Issues of fidelity and infidelity?
2. An American story, universal story? Mary and Michael and their age, their experience of marriage, their son? Fidelity, infidelity, separation? Morality and an morality?
3. The American setting, the city, homes, workplaces, creative world, the world of dance and schooling? The musical score?
4. The introduction, Michael and Lucy, her tantrum, upset, his response? The relationship? The introduction, Mary and Robert, the affair, talking, comfortable with each other?
5. The audience covering that Mary and Michael were married, their age, experience, seems at home, the life over a quarter of the century, at the workplaces, work collaborators, discussions, pretexts, avoiding meals? At home, the comfort, the lies? Anticipation of Joel and a visit with his fiancee?
6. Lucy, her age, the relationship with Michael, the use of the word dramatic, easily upset, arguments, the scenes with her teaching dance to the ballerinas? The time with Michael?
7. Robert, writer, his success, sharing with Mary, his hopes, love, his putting her to sleep as he read?
8. Mary and Michael in bed, the kiss, the realisation of love and sexuality, the encounter, the shock? The plans, the separation?
9. Joel, the phone calls, his girlfriend? Arrival, his anger, judgemental about his father, his father sitting calmly? His reaction to his mother? The meal, the talk at table, the girlfriend? The announcement of the separation? Joel's anger, punching the wall? He and his fiancee leaving?
10. Michael calm, Mary calm?
11. Joel, having the meal with his fiancee’s parents? Their long Fidelity?
12. The separation, the scenes with Michael, with Mary? Lucy and her performance? Robert and his writing? Yet, the past experience in of infidelity, and their meeting each other in secret?
13. The audience left with the characters, performance rather than verbal analysis of the situation or moral perspectives?
