THE NEST
UK/Canada, 2020, 107 minutes, Colour.
Jude Law, Carrie Coon, Oona Roche, Charlie Shotwell, Wendy Crewson, Michael Culkin, Adeel Akhtar.
Directed by Sean Durkin.
What does it profit…? A gospel question that has been dramatised so often over the centuries and finds itself the subject of many morality plays, many films. And, this is certainly one of them.
Interesting to speculate on the title. The nest could refer to the security of the family life. The nest could also refer to the security of a home where everyone can feel at home. So, something of both in this story.
The world is that of corporate business, the showiness of business in the United States, less flamboyant but equally ambitious business in the United Kingdom.
This is the story of Rory O’ Hara, played with quite some flair by Jude Law. He certainly does not want to allude to his humble beginnings, although he has to go back there and acknowledge them at some stage. Rather, he is the corporate star has come from London and is prospering in the US, married to his wife, (Carrie Coon) and with a son and a daughter, the daughter at that troublesome age of self-assertion and discovery of the world of sexual encounters, drugs, rebellion against parents. The younger son, on the other hand, is bookish and rather introverted.
But this is not enough to satisfy Rory, making arrangements and deals behind his wife’s back so that they can return to England where he can find a superior position, buy a mansion in the country, a house in London, his wife setting up a stable (she is an equestrian trainer), the children finding new friends and schools.
The American dream? The British dream? But, of course, the morality play nightmare!
Like many ambitious businessman, Rory overrates himself and falls foul of reality. Allison becomes more desperate, the children more tangled in their problems. At the end, Rory insists that Alison come to a corporate dinner, for wooing clients – but, she cuts through his pomposity and lies, walks out, Rory left with his close friend who is tired of being exploited by Rory and also walks out.
The screenplay certainly tackles the problems – but, ultimately might not be without some hope, as Rory and Allison return home, encounter the children, everybody back at the nest with the possibility of confronting reality and the future.
1. The title? Homes in US? The stately UK mansion? Family and guests, safety, building, security?
2. The American settings, homes, equestrian training, business offices? Socials? Restaurants? The transition to the UK, the stately home, the countryside, interiors? London streets and buildings? Offices and interiors? Restaurants and clubs? The countryside? The musical score?
3. The story of Rory O’ Hara, British, denying his ancestry, but the later visit to his mother, anger at his father, her lifestyle, inquiries about his brother? His business career, sent to the US by Arthur Davis? His success in the US? Wanting something more? The phone call to Arthur Davis, transferring to the UK? His relationship with his wife, second marriage, her daughter? Their son? Social living and affluence?
4. The gradual revelation of Rory O’ Hara, ambitions, greed is good, taking charge, relationship with Arthur Davis, suggesting the deal, anger and its not going through, confronting Davis, Davis putting him down? His relationship with Steve, co-worker, discussions, outings of the football? Yet betrayal, the Norwegian fish farms? The dinner, his wife’s behaviour, the breaking with Steve?
5. The move to England, his ambitions, the rent on the house, wanting something in London, ever avaricious? His work, success, over-reach? Ambitious intuitions, not attending to detail?
6. Allison, her background, the sequence with her mother and their getting on well? Her relationship with her daughter, her age? Her son? The happy scenes in the US, the home, swimming pool, playing football, the bonding with Rory? His being an exemplary father? The proposal to go to the UK, her not really wanting it, Rory making the decision? Equestrian training, working for a boss, Rory suggesting she have her own business?
7. Life in London, in the countryside, the vast house, loneliness, Sam, wanting her privacy, Benjamin, not wanting to be called beanie? Dependence on their mother, picking up from school, their being late? Allison and her not getting up, the buying of the horse, entering into the training? Satisfaction?
8. Issues of money, her keeping some for herself and hiding it from Rory? His promise of big deals and income? Lavish payments, meal outings and his paying the bills? Paying for the horse? Being in need, wanting to borrow from Allison?
9. Allison, her reactions, riding her horse, its collapse, the neighbour, putting it down, support from her children? The tractor, the burial of the horse? Rory away, the news, his wanting to sue the person selling the horse? Insensitive?
10. The pressures on Allison, her going to work on the farm with the neighbour, satisfaction?
11. Getting ready for the dinner, wanting Sam to look after Benjamin? Her going to the dinner, drinking, her blunt challenging Rory, going out, frantic dancing, home late, the remnants of the party?
12. Benjamin, wandering? Sam inviting all the friends, the party, drugs, noise, shambles?
13. Rory, embarrassed by Allison at the dinner, looking for her, wanting the evening with Steve, his blunt telling the truth and leaving?
14. Rory, the taxi driver, confiding in him, explaining his work, but able to explain his ambitions, saying that he was pretending to be rich? The driver dumping him? His walk home?
15. The open ending, the experiences of war for England, some disillusionment, Rory coming into the house, the family being together? A future?
