Away We Go Review

Posted by Erik Luers on 06.30.2009

Another side of love.........

John Krasinski ... Burt Farlander
Maya Rudolph ... Verona De Tessant
Carmen Ejogo ... Grace De Tessant
Catherine O'Hara ... Gloria Farlander
Jeff Daniels ... Jerry Farlander
Allison Janney ... Lily
Jim Gaffigan ... Lowell
Samantha Pryor ... Ashley
Conor Carroll ... Taylor
Maggie Gyllenhaal ... LN
Josh Hamilton ... Roderick
Bailey Harkins ... Wolfie
Brendan Spitz ... Baby Neptune
Jaden Spitz ... Baby Neptune
Chris Messina ... Tom Garnett







Finally we have a film that answers the all important question: does a woman's vagina taste any different once she becomes pregnant? Sam Mendes' new film, Away We Go, answers this for us in the first three minutes, so it can't be all bad. In fact, it's pretty good, gosh darn it. It's one of those sarcastic, monotone, pretentious, quasi-serious movies that comes a'calling every year, but this one works. It fits in the genre, but it doesn't annoy or induce pain on the viewer like some of the other flicks; the characters are smart, but not too smart, and that makes the screenplay smart. Yes, it's a coming of age tale about two people in their thirties that go on a road trip to visit quirky relatives and friends. And of course, our heroes seem better and more "with it" in comparison to the wackjobs they encounter. Our leads aren't pompous, however, and they too are troubled enough for us to feel their pain. This film is a real surprise.

It helps that our couple, Burt and Verona, are played by two very good actors, John Krasinski and Maya Rudolph. Who knew? They are so lovable and charming that you almost want to hug the 35MM print you're watching them on. These are actors who haven't had much film work (they are more known for their ventures into television) and yet, when we first seem them in bed together, we know the chemistry is there. There's a spark between them that ignites right away.

The couple lives in a broken down trailer and do not make much money (especially with a baby on the way), so they think about packing up and moving. Where to? Anywhere, really. This decision is made easier by the fact that Burt's outlandish parents (the hilarious, perfectly cast Jeff Daniels and Catherine O' Hara), are sporadically leaving the country for two years (therefore missing the birth of their grandchild). So Burt and Verona hit the road to visit old friends and find a place to finally settle down. Simple enough. They take planes, trains, and even a few automobiles as they go to Arizona, Wisconsin, Florida, and Canada, looking for their piece of the American Dream. Can they truly be happy? Does the couple share an unbreakable love that is alive and well? Well yes, but Verona refuses to marry Burt — she would never get married without her parents at the wedding (unfortunately, they passed away while she was at college) — so there is a constant questioning of how much of their lives is really permanent. However, they do care for one another and need one another, and each segment in a new location confirms this. Home is where you make it.

Last year, Mr. Mendes made the stunning Revolutionary Road, a film about the trials and tribulations of a 1950s suburban marriage. With Away We Go, Mendes deals with similar themes, but perhaps with a more modern, optimistic approach. Marriage was a confinement in Road, but in this film (since right away matrimony is out of the question), man and woman are viewed as equal partners. Love is not a power struggle but a civil union. Bizarre, I know. And Burt and Verona are good people with big hearts, and so we want them to succeed. Now, this is not to say that we wanted Frank and April Wheeler to fail and perish, but their outlook was much more dim — the film, while not nihilistic, was rather bleak. Here, we see great things in the future for our leads, so we root for them enthusiastically. They are a grounded couple with a head on their shoulders.

Remember that scene in Annie Hall where Alvy asks a passing couple on the street how they keep their relationship going strong? "I'm very shallow and empty, and I have no ideas and nothing interesting to say" the girlfriend says, and the man continues, "And I'm exactly the same way". We see a lot of those kinds of couples in Away We Go and we laugh because we know them, or at least feel like we do. Is Mendes mocking these types? Maybe a little, but in my opinion, it's done in a playful manner, not cruel or maliciously. Mendes is criticizing these types, not antagonizing them.

If Away We Go is what I'd call a "Benjamin Braddock movie" (a movie in which the main character(s) remain passive for two-thirds of the way through before saying enough is enough and taking action), I don't feel that it is one due to the characters' lack of motivation. On the contrary, Burt and Verona want change to occur in their lives, and want to better themselves in the hopes of fitting in with the rest of the world and the people in it. They cannot be seduced by the lifestyles of Allison Janney and Jim Gaffigan's characters (our Mrs. Robinsons? Maybe), for they know that that is not the life for them. They aren't saying that this couple is wrong, but that it just doesn't fit their personalities.

Such honesty and good-natured attitudes are rare traits to come by in today's movie characters. When Burt goes on an important job interview, he has his long, scraggly hair greased back to look more professional; he fails at this appearance and at the interview. He doesn't fit into this high class world, and his physical appearance at that moment says it all. He's a little boy trying to graduate to the majors, not necessarily because he wants to, but because that is what he's been told he has to do (the phony, businessman voice he puts on whenever he gets a call on his cell phone is hysterical and, at times, a little sad) . He's not lazy or self centered, just an outcast in middle America. He's not passive though, and I think that's why we find ourselves accepting him.

I've noticed that I've focused more on the film's screenplay throughout this review than its visual aesthetics. This film did not direct itself ! Mendes' direction here is more low key than in some of his previous works (less visual allegories are present), and he seems to take a matter of fact approach to the narrative. He abruptly cuts scenes off, furthering the effectiveness of a punch line or other comedic quip, allowing us to focus strictly on the performances. He works for the story (perhaps due to his theater training), and we are rewarded accordingly.

Most of the film, like Revolutionary Road, is bathed in sunlight, although here it is much more orange and dirty (dusty?), as if the camera's filter had gone through a lot of wear and tear. The effect works. Many of Mendes' films were shot in a very classical, old Hollywood style, but here, Mendes gives off a more impromptu, on the go approach. And for a film called Away We Go, the choice is quite appropriate. Oh, and the numerous title cards that tell us of the characters' next location is a nice touch, bookending each mini chapter.

Is the film perfect? Well, maybe it's a little slight, but that really depends on how much you choose to get out of it. The film made me laugh quite a bit, and I find that to be a rarer and rarer occurrence in my regular weekly moviegoing days. Maggie Gyllenhaal shows up for a few scenes as an overprotective, zen like mother, and she (and the actor who plays her husband) are both excellent as they get under your skin and build some very funny tension. Oh, and wait till you see a group of kids reenact a musical number from The Sound of Music. They are big fans of the Julie Andrews' starrer, but were never allowed to watch the "Nazi parts". You see, that little bit of characterization makes me smile. Who knew a film about parenting could be this funny? Who knew it could be this smart?

The 411: Sam Mendes is one of the best filmmakers we have today. That statement says a lot, but so does his work. His Away We Go is a good summer movie that asks a lot of questions of its audience. A summer movie that asks a lot of questions? Sounds like an oxymoron, but oh no, this one does it. Filled with excellent performances from the entire cast (there is not one weak link to spot), catchy, touching music, and solid direction that never intrudes on its story, this is a real season highlight. It's a Valentine's Day movie with heart and smarts.

Final Score:  8.0   [ Very Good ]