LET THEM ALL TALK
US, 2020, 113 minutes, Colour.
Meryl Streep, Dianne Wiest, Candice Bergen, Lucas Hedges, Gemma Chan, Fred Hechinger, John Douglas Thompson, Daniel Algrant,
Directed by Steven Soderberg.
If one was writing a review with a cynical touch, the comment would be that it would be better not to let them all talk. They all talk too much.
This is a Steven Soderberg film, 30 years after he made such an impact at the Cannes Film Festival, 1989, with his award-winning, Sex, Lies and Videotape. He had a mixed career during the 1990s, some successes, experimentation, especially with Kafka. However, in 2000, he directed both Erin Brockovich and Traffic, Julia Roberts winning an Oscar, Soderberg himself winning an Oscar for Best Director for traffic.
During the 2000s, he again experimented with all kinds of genres, especially with his all-star cast and popularity of the Oceans films, as well as his portrait of Che Guevara.
During the next decade, he continued this varied career, some film for cinema, some films for television, including this one.
The premise is basic, a successful author, unable to finish her latest novel, decides to accept an invitation for an award in England, is persuaded by the agent to go by ship, invites to her very old friends that she has not seen for years to accompany her. She is also accompanied by her nephew who serves as a companion and confidant.
And, the author is played by Meryl Streep, giving yet another varied performance (after working for Soderberg in Laundromat). This time she is a grand dame, sweeping around the ship, swimming, her meals, the conversation with her friends. Dianne Wiest, a psychologist working with condemned prisoners, tries to be a mediating friend. And this is the need because the other friend, the hairdresser played by Candice Bergen, has bitter memories of the author who took over her life story, exposing her, leading to a divorce and decades of embitterment. Lucas Hedges, so effective in many films, seems a rather callow choice for his aunt to take as confidential companion. On the voyage, he teams up with the agent whom his aunt looks down on, played by Gemma Chan.
There are various episodes on the boat, swimming, afternoon teas, socials, the hairdresser especially enjoying all the aspects of the sea voyage. But, it has to lead up to a confrontation, arrival in England and going to the scene of the award, a visit to the grave of the author in whose honour the award is made. Then, a lot of truths are told – and a final reason given for the author wanting to put her life in some kind of final order.
To be seen more for the cast and their performances rather than the plot, development of the narrative, and all the talk.
1. The title? The characters and their attitudes about people, about talking? A talking picture, relying on dialogue?
2. The screenplay, written, improvised? Exclamations, halting, silences? The dramatic effect? Credible dialogue or contrived?
3. The premise, the celebrated author, her friends in the past, the award, persuaded to cross the Atlantic on the Queen Mary, inviting her friends, the voyage, interactions?
4. The introduction to the central characters? Alice, age, career, novels, personal manner, the discussions with Karen, changing agents, prospects? Susan in Seattle, conversations, her work on the parole board? Roberta, Dallas, the lingerie shop, age, experience, casual, the argument with the client about colour, her boss? Tyler, Cleveland, his friends, modern and not knowing the past, Alice’s nephew?
5. The Queen Mary, everybody going on board, the staterooms, the staff, their courtesy, the sequences interspersed about the staff, cooking, preparing meals, laundry…?
6. The meetings, the three women, after 30 years? Alice and her superior manner? Intending to write on board, her routines, breakfast with Tyler, writing, swimming, meetings, meals? Susan and her enjoying the trip, Roberta and her going to the functions, dressing up?
7. Karen, approaching Tyler, wanting information about the progress of the manuscript, the friendship, the various sequences together, dating, Karen telling her story about her relationships, Tyler and his age, response, the attraction, asking could he kiss her, her not answering? His explanation of this episode to Alice?
8. Alice wanting Tyler to look after the women, keep them entertained, her sense of obligation towards them? The ordinary friendship with Susan? Roberta and her reaction, her story told in the novel, the repercussions on her husband, the breakup of her marriage, divorce? Her bitterness?
9. Roberta, the issue of money, the man with the fortune, his ignoring her, Google research with Tyler? Her resentments, the discussions with Susan?
10. Alice and her talk on board, the issue of using people’s lives for her novels? Yet her explaining that the novels were herself? The final talk with the Roberta, Roberta’s resentment, wanting an apology, then switching to the issue of money, royalties? Alice prepared to write a cheque?
11. The mystery of the man in Alice’s room? Reading at the swimming pool and encouraging her? Alice’s death, Tyler’s shock? The mysterious man as the doctor and his explanations?
12. In England, the accommodation, comfortable? The impact of Alice’s death? The decision to go to the grave of the author? Tyler and his solemnity?
13. Roberta, taking the manuscript, contacting Karen, suggesting publication, or online?
14. Susan, the encounter on the ship with the murder mystery writer, Alice and her disdain, yet reading his book, writing, the conversation with him about how he wrote? Susan making friends, working with him to supply plot details?
15. A talkative portrait of the older women and those with whom they came in contact?
