PRIME
US, 2005, 105 minutes, Colour.
Meryl Streep, Uma Thurman, Bryan Harrington.
Directed by Ben Younger.
Prime could be described as a romantic comedy with edge. In fact, there are several edges.
The cultural edge is that this is a New York Jewish story. While the central character, fashion model, Rafi, is not Jewish, she begins a relationship with a young artist, David (Bryan Greenberg) who is Jewish (but is not as deeply involved in and understanding of his traditions as his parents). The other edge has to do with age. He is 23. She is 37.
As regards the romantic comedy, the style is modern, two people falling in love regardless of what others think and, sometimes, regardless of the consequences. They feel that the difference of fourteen years is nothing. Rafi, a recent divorcee, feels that David fulfils all her emotional needs and her sexual needs. David is entranced by this sophisticated woman and that she could love him. Needless to say, romance has to face up to reality, especially the differences in intellectual life (computer games versus conversation, for example) and general maturing experience. As such, Prime is a light and light-hearted look at characters experiencing these dilemmas.
But, back to the Jewish theme. David’s mother (Meryl Streep looking both frumpish and glamorous) is Rafi’s psychiatrist. She is wholly affirming of Rafi, especially encouraging her in the new relationship – until…! David is her son and Rafi is not what she wants for him. She is not Jewish. She is too old. This leads the film on to questions of confidentiality, what happens when therapists are involved emotionally in their clients’ lives and just how manipulating some mothers can be.
Uma Thurman brings glamour and presence to her role. Meryl Streep makes the most of her double-takes and maternal anguish. Ultimately, this can be also described as a bittersweet comedy – which asks its audience to appreciate how much people relish the present moment but that, finally, life requires decisions, courage and responsibility.
1. A romantic comedy – with edge?
2. The title, David and Rafi – and their relationship, sexuality, personal maturity?
3. A New York story, the city, apartments, the world of modelling, the world of art? The world of psychiatry and counselling?
4. A Jewish story, the religious background, cultural background, the attitudes and beliefs of the different generations, expectations – especially as regards mixed marriages?
5. Rafi’s story, Uma Thurman and her screen presence? Her age, the break-up of her marriage, the effect on her, her divorce, at work as a model, her range of friends, the modelling world? Her going to psychiatrist, the visualising of her sessions, the confidentiality, her own confidence in herself through the sessions, permission for acting, relationships, choices?
6. David and Morris, the incident with the pies and Morris hitting the women with pies? Their friendship? Going to the Antonioni festival, David being locked out and meeting Rafi? The coffee afterwards, the friendship, his nervousness, the phone call, hanging up, his talking with her, inviting her out? The fact that they clicked? The issue of age – and its permeating the film? The younger man, the older woman? Working well together, the relationship, emotional, intellectual, sexual? The affair? Companionship – and the repercussions?
7. Rafi and the relationship, its effect, her saying that she was fulfilled, the sexual fulfilment? Her consciousness about the age issue and mentioning it? The consequences for her?
8. Meryl Streep as Lisa, as a psychiatrist, frumpy-looking – with a touch of glamour? As mother, her treatment of her son, the alienation? Her work with her husband? His quiet attitudes, at home? With her clients? With her parents? The importance of the Jewish background? The sessions with Rafi, affirming her, giving her permission for the relationship? The realisation that she was talking about her son, the challenge, the change, the reactions – not of a psychiatrist? Her wanting to thwart the affair? Her own therapy and explaining the situation? Her finally telling Rafi, before dealing with David?
9. The home scenes, the Jewish home, the controlling mother, the quiet father, the grandparents – and David staying with them? David and his mother, Rafi reporting innocently everything he said about her, the clashes, the age?
10. Lisa and her telling Rafi, Rafi’s reactions, the issue of trust, the changing relationship, the realisation of the consequences, Lisa having heard intimate and explicit details about her son and its effect?
11. Rafi and David, their talking, his persuading her to visit the home, the frankness of the discussion?
12. David and meeting the model, his drinking, spending the night with her, admitting his mistake, Rafi hearing the model’s gossip, her reaction and anger, David confessing? Ousting Morris? His being a man of his age, early twenties – especially with the computer game? His sensitivity towards Rafi but not realising what an older woman required in terms of presence and attention?
13. The changes in each of them, a realisation that they were not for each other?
14. Rafi, the lying about her age, David lying about Rafi’s age to his mother? The issue of needs, intimacy, intellectual companionship – and the realisation that David had to grow up?
15. David, his friendship with Morris, their talks, the issue of the pies, buying the pies, in the face of the women?
16. Parents and children, the nature of relationships, control, age and responsibility?
17. Rafi and David breaking up, David seeing Rafi after the year – looking in the window, her waving? The change and maturity each? The effect of the relationship on each of them?
18. Themes of a value system, freedom and responsibility, reality and its consequences? David and his art, Rafi’s encouragement, the paintings, the exhibition – and the affirmation of him doing something that meant importance for his life?
