HERE TODAY

US, 2021, 117 minutes, Colour.

Billy Crystal, Tiffany Haddish, Penn Badgley, Matthew Broussard, Andrew Duran. Laura Benanti, Audrey Hsieh.

Directed by Billy Crystal.

As soon as we register the title, we realise its implications: gone tomorrow.

In recent times there have been quite a number of films about dementia, from the US, Queen Bees, from Australia, Ruby’s Choice, both focusing on older women, mothers, the issue of going into care.

Audiences have always liked Billy Crystal, welcoming him on the big screen, on the television screen. He has a great sense of humour, comic timing, and communicates a genial affability (and six Emmys amongst many other awards). This is very much his film, adapting a short story, The Prize, by Alan Zweibel. Billy Crystal was 72 while he made this film, playing older, playing a man who is realising oncoming dementia.

He is Charlie Burnz, prolific comedy writer (and an entertaining cameo sequence acclaiming him with guest stars, Director Barry Levinson, Sharon Stone and Kevin Kline). He keeps going to work, is admired by his colleagues, has an eye and ear for successful jokes and their staging for television. He plays tennis with his architect son. Has fallen out with his daughter but her daughter is devoted to him, wanting him to come to her Bat Mitzvah.

From the outset, as Charlie walks to work, checking stop signs and lights and knowing that he has to turn left to get to the office, we realise that he is having memory lapses. Sometimes he can’t remember people’s names. And at home, he has the names of his family under their photos. He goes to a strong and sympathetic doctor played by Anna Deveare Smith.

But, the unexpected aspect of the story is that he goes to a lunch with someone who has made a bid for this lunch at a celebrity auction. But, it is not the winner of the ticket but his former girlfriend, Emma played by Tiffany Haddish.

And, so, we have a meeting of the older generation of comics and the new generation, a meeting between Jewish and African-American humour (and music and culture). As might be expected from those who have seen Tiffany Haddish’s films and television, she comes on heavily (perhaps an understatement). But, at the lunch she suffers from an allergy, Charlie having to take her to hospital, pay her bills which she insists she repay. Which means then that she turns up sometimes unexpectedly to pay her debts! She sings with a band, especially in the subway stations but is offered a bus tour around America.

What follows is a wonderful friendship, step-by-step, understandings and misunderstandings, Charlie appreciating Emma – and the important dramatic aspect that Tiffany Haddish gradually tones down her performance, her dominating presence, becoming a strong friend, a supporting friend, an understanding friend. Although, she does take over the Bat Mitzvah, singing exuberantly but able then to gather all the guests around her, joyfully singing and dancing.

We learn about Charlie’s background, a great number of pleasing flashbacks, emotional, to his meeting his wife Carrie, there really courtship, her giving birth at a Museum near the dinosaurs (and their calling their son Rex!), the bonding over the years, her sad death.

We see Charley mentoring an ambitious young writer who is hesitant. We see Charley bonding with his granddaughter. We see him having a very personal conversations with Emma, her encouraging him to write about his life and his family. And she goes with him to visit the doctor and understand his prospects.

There is some drama, especially the fears of his children – but, a fine scene where Emma is able to communicate to them what is happening.

Some bloggers have complained that this is too sentimental! One wonders whether they want Charlie to die alone and abandoned for their dramatic satisfaction. But, no, the screenplay offers a possibility of understanding reconciliation, forgiveness, bonding and love, and the support of true friendship. Who can complain about this! And thanks to Billy Crystal for bringing this to the screen.

1. The total, the implication of “gone tomorrow” and dementia?
2. The appeal of Billy Crystal, his television career, his film career, comic writer, comic performer? His writing the screenplay, directing, performing the central role?
3. Audience response to the onset of dementia, audiences experience of themselves, family with dementia? An empathy for Charlie’s character? Observing, the signs, the symptoms, denial, grief, acceptance?
4. The introduction to Charlie, at home, his age, going to work, the street signs, turning left, arriving at his office? And the later sequence with the road blocked and his being urged to take a different route, his desperation, the traffic, bewilderment?
5. Charlie’s life, comic writer, talent, the years, the sequence of the tribute with Barry Levinson, Sharon Stone and Kevin Kline? His continuing at work, the comedy team, the television show, the jokes, his comments? As upset with Roger and his wrong emphases – and the later showdown, his spontaneous angry reaction, and the ratings going sky high! His encouragement Darrell, the weak jokes, working with him, Darrell’s final success – and his writing the social media comment on the outburst?
6. Charlie’s life, the flashbacks to Carrie, inserted throughout the film, the meeting, the courtship, the bonds between them, pregnancy, giving birth in the Museum, calling their son Rex? The years passing, his being busy, the children, the final interchange and the news of her death in the accident? His continually blaming himself?
7. Playing tennis with Rex, the alienation from Francine, the invitation to the Gibson Bat Mitzvah, his granddaughter, love for her, encouraging her, and the joke for the Bat Mitzvah? His not telling his children about his condition?
8. The lunch, the encounter with Emma, her not knowing anything about him, her ex-boyfriend’s auction win? The talk, her chatter, the large meal, the waiter’s reaction, the allergy, her collapse, the hospital, the treatment? Charlie waiting, paying the bills? Her getting out, promised to pay the bills? And her turning up with payments?
9. Emma, a character, Tiffany Haddish and her stand-up and comic reputation, coming on full blast, gradually moderating, the development of the friendship with Charlie? Her singing with her band, Charley coming to hear her? The prospect of going on tour? The bonding with Charlie, their talking, her learning more about him? Listening to the flashbacks? Trying to convince him to write, ultimately persuading him? His decision to invite her to the Bat Mitzvah? Dressing up, Francine’s reaction, Louise and her delight? The ceremony, Charley proud, the rituals, the dancing – and Emma on the floor, taking over, singing, everybody joining in, including Francene?
10. The visits to the doctor, her concern, prospects, medication, Emma accompanying Charlie to visit the doctor?
11. Charlie and his going down, Emma staying the night, the bond between the two, friendship?
12. Louise contacting Charlie, skipping school, the drive, out to the country house and the scenery, the scene in the picture which he had taken down, which Emma had found? Rex and Francine upset, travelling with Emma?
13. The scene with Emma explaining Charley situation to his children, emotion, pathos, their response?
14. The ending reconciliation, the scenery and the sunset, Charlie and Louise contemplating, his seeing Carrie in his memories? Everybody reunited and watching the sunset?
15. A film of emotion, of care, of hope?