Review:
The Five-Year Engagement is a
different kind of romantic comedy, as it tries to present much more authentic
characters and situations while also commenting on the expectations of couples
who have grown up with the myth precipitated by typical romantic comedies. In
its humor, it is both grounded and absurd (sometimes at the same time). The
film is about Tom and Violet, a couple who gets engaged but life keeps getting
in the way of them actually getting married and (as the title suggests), their
engagement is dragged out, with each questioning whether they really are right
for each other and should get married. Writer-star Jason
Segel and writer-director Nicholas
Stoller have structured the film in a much different fashion than almost
any other in the genre, allowing the characters to be fleshed out much more
than the genre usually has time for. While there is a loose overarching three
act structure, Stoller and Segel present the film in a more episodic manner detailing
the evolution of Tom and Violet’s relationship at different points in time –
the happiness and love, but also the frustration and anxiety. The structure
goes in the face of everything the audience typically expects from a romantic
comedy, which is usually mapped out so specifically that the viewer knows what
to expect with each plot point before even watching the film. This is not the
case at all with The Five-Year Engagement (I honestly did not know if they
would stay together or not, which is amazing given how overly predictable
rom-coms are). In fact, the film begins where most romantic comedies end – with
two people deciding they are perfect for each other, utterly in love and want
to be together forever. It tells the story of what happens after that –
sometimes happy, sometimes sad, a little messy, and a lot of work. Stoller and
Segel do a wonderful job with the principal characters (they reportedly
revamped each character with the actor set to play them, once cast), as they
feel much more authentic and their drama more real than anything viewers
typically see in the genre. They are very relatable and the viewer cares about
them as a result. This authenticity is the most charming aspect (and maybe the
best part) of the film, as it is so refreshing, charting the challenge and
chaos that is life and love. In many ways, the film is also looking at the myth
that romantic comedies have championed pertaining to relationships and finding
‘true love’, pulling it down and retorting with a much more accurate and
unveiled account of what relationships are like. But, this is a romantic comedy
all the same after all, and as such is still infused with those zany somewhat
over-the-top sequences, goofy supporting characters and a few other genre
mainstays that the genre has always demanded (especially in the third act) –
and really these genre conventions are to an extent part of the fun and appeal.
Overall, however, the film breathes new life into a genre that has perpetually
turned out generic and abject emotionally staged and false narratives for some
time now (with the odd great film – like Stoller and Segel’s last rom-com Forgetting
Sarah Marshall). Humor wise, this film is funny, but odd. The narrative is
mostly driven by dramatic and emotional moments, and characters that are
struggling. However, this is a comedy, and thus is inundated with gags, many of
which are very funny. The best humor in the film generates from the situations
and characters organically, while the stuff, while still mostly funny, that
does not work quite as well is of a more absurdist nature (and I say absurdist
because this is a film steeped in reality and yet there are a few moments
that are built around jokes that seem out there, like the dinner between Tom,
Violet and Violet’s sister and her husband in which they are eating deer, using
deer-bone utensils – it is almost like an absurdist dramatization of how Tom
feels, as he is very unhappy at the point the scene takes place in the narrative,
yet happening in reality). Whether using somewhat inane humor as a projection
of internal torment juxtaposed to the reality the film mostly features was a
narrative choice or not is unknown, but these gags sort of stick out as they
seem to not be quite in the right film, though (again) they are still funny,
and even maybe work a little. As a comedy, the film is very funny mixing crude
humor (both sight gags and situational comedy) with typical joke areas found in
the genre. Like most Judd Apatow
productions, The Five-Year Engagement both has heart and R-rated humor. And
like many of his produced films, it goes beyond the typical overly generic genre
dynamics and presents a fresh take (in this case in terms of presenting real
characters and drama).
Technical,
aesthetic & acting achievements: Nicholas Stoller and Jason Segel
have now made three films together (four, if you count Get
Him to the Greek, which Segel co-produced and wrote songs for but was not
too creatively involved in), the other two being Forgetting Sarah Marshall and The
Muppets. They make a good team, especially with their romantic comedies
bringing a great sense of humor and relatable characters. I look forward to
their next entry in the genre. Composer Michael Andrews scores the film
well, matching the light and more dramatic tones. Cinematographer Javier Aguirresarobe’s work is
fairly standard for the genre, but that being said this is one of the better
shot and visually beautiful films within the genre. Julie Berghoff’s production
design is great, and she seems to have some fun with the juxtaposition of San
Francisco and Ann Arbor as well. The evolution of the set design accentuates
where the characters are in the narrative. As with most romantic comedies, much
of this film’s success comes down to its characters and performances. Among the
actors with small bit parts, Jacki
Weaver, Lauren Weedman, Mindy Kaling, Randall Park, and Chris Parnell stand out. Rhys Ifans and Dakota Johnson are also good in
supporting roles. However, Chris
Pratt and Alison Brie
almost steal (if not do steal) the film. Pratt, playing a more aware version of
his Parks and Recreation character,
has a lot of funny stuff; and Brie is brilliant as Violet’s impulsive and
emotionally eruptive sister (she has some of the best stuff in the film – from
her toast at the engagement party to her Elmo and Cookie Monster talk with
Violet). Jason Segel has his character down pat – a lovable nice, sometimes
awkward guy who seemingly could not be mean even if he tried. Here, Segel has a
lot of emotional drama to play and does so very well, while still making the
audience laugh. Emily
Blunt is as good at comedy as she is at drama. In this film she gets to do
some of both, and is fantastic on both accounts.
Summary
& score: The Five-Year Engagement is a romantic comedy that dares to
be different and authentic in its portrayal of love and life. 8/10
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