MAYBE I DO

US, 2023, 95 minutes, Colour.

Diane Keaton, Richard Gere, William H.Macy, Susan Sarandon, Emma Roberts, Luke Bracey.

Directed by Michael Jacobs.

A comedy drama focusing on three couples. As regards the “I do”, the young couple, in their early 30s, are questioning whether they are able to say I do and commit themselves for life. But there are two older couples, who have said “I do” long since and have begun to wonder how much they meant it. And the further complication is that the two older couples are the parents of the young couple!

There is a great deal of dialogue in this film, lots of conversations, lots of one-on-one interactions. And, we are told that it is based on a play – indeed, it is very theatrical, very limited in its locations, mainly hotel rooms, rooms in homes, going outside the house for some kind of air and freedom of movement.

One of the difficulties with the title including the word, Maybe, is that it can lend itself too readily for a play on words by a reviewer. Maybe I do go and see this film. Maybe I don’t. We might put it this way, there is no harm in seeing the film, and probably no harm at all in not seeing it.

And, this despite its stellar cast. The four main actors are all in their 70s – but the screenplay enabling them to say that they are still in their late 60s! The two younger actors are in their early 30s.

The stellar cast - we have been watching their films for decades, with Susan Sarandon and Diane Keaton, for over 50 years. We know them, appreciate their performances, their versatility (although Diane Keaton seems to be forever Annie Hall and, in fact, even here she still resembles Annie Hall), Susan Sarandon with an enormous range from Sister Helen Prejean in Dead Man Walking, to Thelma and Louise, to Marmee in Little Women, Richard Gere heartthrob all these years as well as strong dramatic performances, and character actor, William H. Macy, recently on television for 134 episodes of Shameless, worth seeing as the priest in the arresting drama, The Sessions.

We are introduced to two couples, not married to each other, sharing a risky night, Diane Keaton’s Grace responding to Macy’s Sam, sobbing uncontrollably in the cinema. Then we see Gere’s Howard in a hotel rendezvous with Sarandon’s aggressive Monica. Our puzzle about these relationships is interrupted as we are then introduced to the younger couple, Allen and Michelle, at a wedding, he leaping to catch the bride’s bouquet which was intended for her, and quite some tantrum consequences.

If we hadn’t known, we still wouldn’t be surprised to discover that, of course, change the foreground and we realise we have two married couples – and, then not surprised to find that they are the parents of intended bride and groom. An invitation to dinner – and a more well-behaved variation meeting and confrontation than might be expected in this tense Who’s Afraid of Virginia Woolf situation.

So, there is a pleasure in watching the four central stars (and the younger ones as well) dramatising the situation, the tensions, Monica assertive, Howard running for cover, Sam being the most sensible of the four, Grace feeling disillusioned about the commitment of her marriage.

Since this is an age-variation on a romcom, we have an expected, happily, happy ending, “I do” all round.

1. Title? Issues of ambiguity in marriage? Looking to the future, to the ceremony, to the life commitment? In retrospect, difficulties in marriage?
2. The film based on a play, the emphasis on dialogue, the limited locations, moments of opening out, the cinema, the streets and walking, the garden outside the house? The interiors, the hotel, home, cinema, cafes? The musical score?
3. The structure of the film, the introduction to the two couples, the revelation of their marriages, the revelation of the parenting the young couple? The setting up of the meeting, the interactions in the house, resolutions?
4. Howard, his successful background, the affair with Monica, her domination, threats in the hotel, his warding her off, the threats to kill him? Return home, the relationship with Grace, tentative? Grace, in the cinema, foreign language film, the sobbing, moving towards Sam, offering sympathy, the walk, meeting of minds, affection, the hotel, the wariness of the manager, the room, suggestion of an affair, their talking, walking? At home, Grace, believing in the marriage, surprise at a distance? Michelle, arriving home, the conversations, the questions about her commitment, Allen, advice? The suggestion to invite Allen’s parents to dinner?
5. Sam, at the cinema, the popcorn and sweets, sobbing, the encounter with Grace, affection, feeling listen to, the hotel, the walking, going home, Monica, her severity, mocking Sam? The relationship with Allen, the discussions about commitment, their own experience? Monica wary? Sam and his encouragement? the acceptance of the dinner invitation?
6. Allen and Michelle, the wedding, the friends, atmosphere, the bouquet, Allen and his leaping, Michelle and her upset, tantrums, discussions about the commitment, the diving into the deep together? At the apartment, Michelle walking out, Allen going home? Michelle at home, parents, room, listening to their advice, the discussions? Allen with his parents, the discussions, advice? The invitation to the dinner?
7. Audience tension with the dinner, Sam and Monica arriving, Howard and Grace and reactions? The children unawares? The formalities, Howard and Monica and the intense discussion, her saying she had killed him? The intensity of the discussions of Grace and Sam, Grace and her devotion to her husband, Sam and his pleading?
8. The “Virginia Woolf” tense situation, interactions? Truth?
9. The finale, the happy wedding, ceremony, feelings, both parents present, dressing up, the couple and their commitment, the symbolic dive? Future?
10. A romcom of older, younger, positive moral fable?