MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Darling Companion

DARLING COMPANION (Three Stars)
U.S.: Lawrence Kasdan, 2012
 
Darling Companion is Lawrence and Meg Kasdan’s highly personal dog story about a beloved mutt who gets lost in the Rockies after a wedding party — and about all the humorously dramatic and comically serious interactions of the upper middle class 50something ensemble of doctors and wives and friends and gypsy housekeepers who try to find the vamoosed pooch. Despite papa Kasdan’s reputation, and a stellar cast, it’s been so eviscerated by so many critics, that my enjoyment of the movie (and I did enjoy it, right up to the unfortunately phony ending) may register as some kind of perverse AARP-truckling contrarianism.
But I thought there were a lot of good things in Companion, beginning with its excellent age-diverse cast (Kevin Kline, Diane Keaton, Dianne Wiest, Richard Jenkins, Mark Duplass, Ayelet Zurer, Elisabeth Moss and Sam Shepard). There‘s also a lot of wit, craft and feeling in the piece and grace, intelligence and emotion in the Kasdans’ script and in director Lawrence’s low-pressure naturalistic staging.
The movie has its flaws — that outlandishly implausible ending chiefly among them — but compared to most of the un-naturalistic, unfunny, unserious, totally phony and sometimes obnoxiously ageist and condescendingly smart-ass gloppy stuff that often passes for American movie comedy-drama these days (and that sometimes gets a pass from the same people who pile on movies like Darling Companion), it’s a movie that deserves some encouragement. I’d rather see more movies like this, with good parts for top notch actors like Kline, Keaton, Wiest and Jenkins than eight more glam-as-usual youth-besotted shows starring Justin Timberlake or Katherine Heigl and the usual suspects, with or without lost dogs.
In this case, the dog in question is Freeway (played by the estimable Kasey, who really doesn’t get as much screen time as he deserves). Freeway is found, in bad shape, by the side of a Denver freeway, by nervous, luminous spine surgeon’s wife Beth Winter (Keaton) and her picky daughter Grace (Moss), and he’s rescued, brought to a shelter, and saved by a charming vet named Sam (Jay Ali). Freeway becomes the catatlyst for the eventual wedding of Grace and Sam — at a Rocky Mountain High gathering also attended by Beth’s gifted sardonic, full-of-himself husband Joseph (Kline, terrific), earthy sister Penny (Wiest), Penny’s doctor son Bryan (indie notable Duplass) and Penny’s nice-guy fiance Russell (Jenkins), who triggers merriment when he announces his plans for opening an English pub in the Midwest. Also present; prescient gypsy housekeeper Carmen (Zurer) and cantankerous local sheriff Morris (Shepard).
An excellent cast, and they all seem to be having a good time. The plot shifts into higher geer when Freeway gets lost in the woods, thanks to some cell-phone-induced inattention by Joseph, who may be jealous of the fact that his wife showings more effection to the dog than to him. But Jospeh and all the others, an empathetic bunch, go along with Beth when she insists on a search for Freeway. (This dog hunt was inspired by the Kasdans’ own loss of a well-loved mutt named Mac, and a search for him that lasted even longer than the one here.)
Much like Kasdan‘s best-liked movie The Big Chill, several geneations ago (a show that also starred Kline), Darling Companion gets a lot of mileage out of its highly talented ensemble. The movie also shows a lot of affection for these fictional but believable people and nicely plays on our cioncern about the dog — an emotion probably felt by anyone who’s ever had an animal for a friend, especially one that came, as Freeway, mac and Kasey all did, from a shelter. Although I’m in a minority, I liked the movie, and I was especially happy to see an ensemble that came from a variety of age groups, and didn’t try to dismiss its oldsters as cutesy comic relief.

We’d be better off with more movies that tried to deal with a much wider range of people and problems, including, of course, different classes and social backgrounds — and that managed it all with the likability and skill and sympathy of Darling Companion.

SPOILER ALERT

By the way, in real life, the Kasdan family’s Mac was discovered by a local who read one of their numerous signs and had taken the lost dog in. I wish they’d used that for the ending here. It could have been a much more believable and even moving wrap-up than the one here. But I’ll cut some slack for people that so unashamedly love their dog.

Leave a Reply

Wilmington

Quote Unquotesee all »

“I don’t really think, Sean, that you need to know about my various sexual liaisons. Or that anyone else needs to. I did write about them. I filled a hundred pages of Moleskine notebooks with my one-night stands, my affairs. But I decided they didn’t belong in a professional memoir. First of all, these are real people we’re talking about. Many of them were enjoyable. Some were abject failures. My wife said to me when she read the pages, ‘Of what purpose is this in a memoir? Of what purpose is this other than to titillate?’ The point is, I never see them. It’s because I have nothing in common with them, frankly. And probably didn’t at the time. I could not provide a sensible reason why I married these women. The thing is, in the case of my marriages, it takes two people to fuck up a marriage. It wasn’t simply the fault of these women that I lost interest in them and realised they were insignificant relationships. Which is how I look at them right now–as being insignificant. I see them as blips.”
~ William Friedkin On Cutting Interviewers Off At The Sass

“I have to imagine from Mr. Spielberg’s point of view, the paradigm shift in the 1970s was just the new “normal,” a “halcyon era” from which we are straying in the 21st century–because theatrical exhibition is tenuous (as it has been since the 1940s), the home video market has dried up and people are watching pirated movies on their phone. Spielberg’s coming-of-age era was for him the halcyon period that the 21st century “implosion” will cause to go “crashing into the ground.” But he is wrong. The market for movies is actually diverse and highly segmented–although from the top-down movie industry vantage point and media punditry you would not think this to be true.  Would we really mourn for Mr. Spielberg or ourselves if Lincoln would have been made for cable or had played on public television?  Is it bad for humanity that cable television is creating wonderful, resonant stories in long-form series that people want to watch at home on TV (or streamed onto their computer)? I don’t think so, but it is a paradigm shift and it might affect people’s theatrical moviegoing habits. Televisions in people’s homes have had that effect for seven decades–it is not a new phenomenon. As Art House cinema impresarios we need to focus on what WE can do at our theaters and in our communities. It is not productive for us to fret over what pundits say or about what well-meaning filmmakers like the Stevens–Spielberg and Soderbergh–say. We should fret about what we can do in our communities. What we can do to support filmmakers.”
~ From A Response By Russ Collins, CEO, Michigan Theater – Ann Arbor And Director, Art House Convergence, To Mr. Spielberg