Enough Said and Dallas Buyers Club are 2 films that had been alluding me for quite some time (both were never playing in my area when I finally had the time to sit down and watch them), but luckily, I was able to catch up with them both in a sort of double feature. Of the 2, Dallas Buyers Club is the one with the chances at Oscar glory; the film itself, Matthew McConaughey, Jared Leto, and possibly other [deserving facets] will get nominated.
Enough Said, however, is a film that deserves much more acclaim than it has won (and it's won quite a bunch). It isn't easy territory, but the trio of director/screenwriter Nicole Holofcener, and stars Julia Louis Dreyfus and James Gandolfini elevate what could have very well been a simple "rom com" to a greatly touching, memorable and mature film.
Dallas Buyers Club tells the true story of Ron Woodroof, a straight up homophobe. When he's not doing his job, Woodroof likes to partake in unprotected sex, drugs, drinking and fighting. His hedonistic lifestyle, however, catches up with him shortly after we're introduced to his world. Despite the fact he thinks HIV/AIDS is a "fag's disease", Woodroof tests positive for HIV, and is told he has 30 days to live.
The ever persistent Woodroof denies the fact he could even have HIV in the first place, but after symptoms persist and his (already) frail body weakens, he begins seeking cures. His caregivers, Eve (Jennifer Garner) and Dr. Sevard (Denis O'Hare), explain to him tests are being conducted on a drug that will hopefully cure HIV/AIDS. In fact, they've already begun the trials, which is how Ron meets Rayon (Leto), a transgendered woman, who is also infected and participating in the trials. After illegally obtaining the drug and discovering it doesn't work, Ron and Rayon team up and form a Buyer's Club (which is nothing more than a way that these infected people could access drugs not deemed "legal" by the FDA) to make some money, and ultimately survive their diseases
This is an actor's movie, first and foremost; director Jean-Marc Vallée understands this, and steps back without completely handing over the reigns to his actors. In fact, it is his clear and controlled, yet subtle, directing choices that allows for a bigger picture; through his widened scope we are able to see every magnificent acting choice present in the film, and boy are there a lot of them.
McConaughey lost 40 pounds to play Woodroff, and while actors have always lost weight for roles, it's always distracted from the actual acting displayed in the film. But by shedding all of his muscles and boyish good looks, McConaughey has actually made it even easier for us to see the anger and stubborn conviction that makes Ron Woodroff who he is. It's his best work by far, and that's saying something given the level of quality he's been delivering the past few years. But the best thing about his performance, is that even when Ron is at his most unlikeable, McConaughey doesn't step back with a wink or some cheeky dialogue (ahem... Leonardo DiCaprio in Wolf of Wall Street) and make him charming; this is who Ron is, take him or leave him. His will to never be knocked down (or to stay down when he does happen to fall) is clear from the beginning to the end, whether Ron is foolishly fighting fellow hicks or the foolish FDA.
As brilliant as McConaughey is, however, Jared Leto is a complete revelation as Rayon. Completely unrecognizable, and weighing the size of a twig, not only is Leto heartbreakingly touching as the film's beating heart, but he is acidly funny and always entertaining. It's electric to watch him and McConaughey act together on screen; they're quite a pair, and their relationship is believably acted out from the moment they meet onscreen.
What's great about the duo of Rayon and Ron, is that you always recognize they've got problems, beyond their infection. Even in the touchiest, sappiest moments of the film, these problems are ever present; so often in uplifting biopics do we see inner demons washed away with a hug, or the stroke of a shoulder. But between the brilliant characterizations and direction, the gritty realism is kept intact; we never forget these are damaged, volatile people, however pleasant or charming they may be at times.
Jennifer Garner also turns in a very solid supporting performance that, yes happens to be quite underwritten compared to Rayon and Ron but does not fade into the background. Garner brings a quiet nuance to her role that makes her both moving and memorable; she's not just Mrs. Ben Affleck (seek her out in Juno!)
Overall, Dallas Buyers Club has many strong elements that go above and beyond the 2 acting centerpieces thought to be the only chance at recognition (though they are undoubtedly reason enough to see the film). It's moving, and passionately angry about its topic; it's one of the very best films released this year.
Oscar Chances: Picture, Actor & Supporting Actor are lock. Deserving directing, but in a year of so many showy and more recognizable directors, that's a long shot. Jennifer Garner's work, good as it is, isn't really strong enough to warrant a nomination in the year of Lupita Nyong'o. That WGA nomination for the film's screenplay however, makes a good case for an Original Screenplay nomination.
Grade: 8.5/10
Enough Said focuses on Eva (Dreyfus), a fortysomething divorced masseuse with a daughter on her way out of the house and off to college meets Marianne (Catherine Keener) at a party. The two hit if off and Marianna promises she'll contact Eva for a massage. That same night, Eva meets Albert (Gandolfini), the complete opposite of everything she's normally attracted to: he's overweight, lax, he eats a lot, he makes corny jokes, etc. And yet, when Albert contacts her for her number to take her out, Eva accepts, and discovers she actually likes Albert quite a lot.
As Eva and Albert grow closer, Marianna begins confiding in Eva about her ex husband, who happens to be Albert. Through her relationship with the 2 ex spouses, Eva is able to discover things about Albert that shapes and distorts her view of the lovable man she started to fall for.
What sounds like your typical been there done that "rom-com" is actually an intricate character study handled perfectly by Holofcener. Never overplaying the goofier or more melodramatic elements, the script maintains a fine line between the two genres that are famous for overlapping. Dreyfus is pitch perfect as the neurotic Eva, who seems to be more concerned about everyone else's opinion than her own. On top of that, she handles the "empty nest syndrome" arc very believably; She gives us the comedy AND the drama, masterfully delivering the many different shades of Eva as not just a character, but a real woman. It's unlike anything we're used to her doing (Seinfeld, Veep), and she nails it.
Matching her beat for beat is Gandolfini, who surprises with a very likable and quiet performance, shades different than his Tony Soprano. Had he not been known for playing such malicious characters in the past, his work here might've been overlooked. But it's clear from this film that Gandolfini was one of the greats, capable of doing anything and everything with clear precision, taken way too soon. The chemistry he has with Dreyfus is genuine, and whole hearted; he effortlessly slips into a role you had no idea he could play so believably.
Oscar Chances: Gandolfini has received substantial awards attention from the Globes and SAG; to miss out on a (deserved) first (posthumous) Oscar nomination would be a shocker. Dreyfus is more deserving than the woman she will undoubtably be passed over in favor for (Streep, Dench, even Thompson), and as much as I hope the screenplay could be recognized, it's a long shot after being ignored by the WGA.
Grade: A+
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