Ruby Sparks (2012)
Starring Paul Dano, Zoe Kazan, Chris Messina, Annette Bening, Steve Coogan, Elliot Gould, and Antonio Banderas
Directed by Jonathan Dayton and Valerie Faris
I wasn't the biggest fan of Little Miss Sunshine and Paul Dano isn't ever a draw for me, so a film by the directors and featuring one of the stars of that former Oscar-nominated flick wasn't ever going to jump out at me as a major draw. However, I couldn't be more pleased that I gave Ruby Sparks a shot because I found the comedy to be more amusing than I ever could have imagined. Maybe it was a case of lowered expectations, but that's probably selling the film short because I feel like Ruby Sparks is one of the best films to come out of 2012.
A decade ago, Calvin Weir-Fields (Paul Dano) wrote a quintessential piece of American literature -- a contemporary Catcher in the Rye if you will. Since then, he's been able to live very well off the money brought in from his novel, but hasn't been able to follow it up with any work as he's been afraid of living up to the expectations from his modern-day masterpiece. Much like his professional life, his love life has stalled. After breaking up with a long-time girlfriend a few years ago, Calvin spends time at home alone with his dog much to the chagrin of his brother Harry (Chris Messina). One evening, Calvin has a dream about a beautiful girl beckoning him to be with her and Calvin's therapist (Elliot Gould) seizes the moment and tells the author to start writing about her to try and get the creative juices flowing.
Calvin finds himself engrossed in writing for the first time in years, falling in love with his creation of the character of Ruby Sparks -- his ideal woman. Color Calvin surprised when he wakes up one morning only to find Ruby (Zoe Kazan) actually in his apartment, complete with every mannerism and characteristic he has made up for her. Whatever Calvin writes seemingly comes alive in Ruby right before his very eyes placing Calvin in an interesting conundrum -- does he write Ruby to be the woman he wants her to be or does he try and let her become her own woman with her own will and ambitions.
While there's certainly enchanting fantastical elements in this wonderful debut screenplay by Zoe Kazan, the film's directors don't dwell on the fact that this couldn't actually happen. Instead, it's played rather straightforward and thanks to all players in front of and behind the scenes, we in the audience buy into the whole thing instantly. Comedy is front and center at the initial meetings of Calvin and Ruby, but as the film progresses, we delve a bit more into what "love" should mean and that the "faults" of our partners endear them to us all the more.
Kazan has created a nice starring role for herself that allows her to play both the initial bubbly innocence of the fresh-faced Ruby and then shift into the more independent-minded woman that Ruby becomes. While I'd apparently seen Kazan in a few films (most notably the western Meek's Cutoff), she isn't someone that had registered with me before. However, after this, she'll definitely be on my radar and I hope that she takes another stab at writing as her screenplay proved to be quite unique.
Much to my surprise, Paul Dano didn't annoy me in the slightest. It's not so much that Dano ever even annoys me, it's just that he always seems to fade away into the background of whatever movie he's in, never really standing out whether that be because his role is minor or because he's being overshadowed by a bigger, more imposing presence (see There Will Be Blood). Here, however, the sheer fact that his character longs to be reclusive and away from spotlight fits Dano to a tee. I think it may be his best work yet -- or, at the very least, his most enjoyable to watch.
With some very nice supporting turns from Chris Messina (a guy who I admire for taking even the smallest of roles and making them memorable) as Calvin's lewd, but incredibly well-meaning brother, along with Annette Bening and Antonio Banderas as Calvin's hippie mother and stepfather, Ruby Sparks proves that romantic comedies don't need to play to the lowest common denominators in terms of either raunchy behavior or bland stereotypes in order to succeed. How this charming film didn't find more success is beyond me considering that it's the best comedy of 2012.
A decade ago, Calvin Weir-Fields (Paul Dano) wrote a quintessential piece of American literature -- a contemporary Catcher in the Rye if you will. Since then, he's been able to live very well off the money brought in from his novel, but hasn't been able to follow it up with any work as he's been afraid of living up to the expectations from his modern-day masterpiece. Much like his professional life, his love life has stalled. After breaking up with a long-time girlfriend a few years ago, Calvin spends time at home alone with his dog much to the chagrin of his brother Harry (Chris Messina). One evening, Calvin has a dream about a beautiful girl beckoning him to be with her and Calvin's therapist (Elliot Gould) seizes the moment and tells the author to start writing about her to try and get the creative juices flowing.
Calvin finds himself engrossed in writing for the first time in years, falling in love with his creation of the character of Ruby Sparks -- his ideal woman. Color Calvin surprised when he wakes up one morning only to find Ruby (Zoe Kazan) actually in his apartment, complete with every mannerism and characteristic he has made up for her. Whatever Calvin writes seemingly comes alive in Ruby right before his very eyes placing Calvin in an interesting conundrum -- does he write Ruby to be the woman he wants her to be or does he try and let her become her own woman with her own will and ambitions.
While there's certainly enchanting fantastical elements in this wonderful debut screenplay by Zoe Kazan, the film's directors don't dwell on the fact that this couldn't actually happen. Instead, it's played rather straightforward and thanks to all players in front of and behind the scenes, we in the audience buy into the whole thing instantly. Comedy is front and center at the initial meetings of Calvin and Ruby, but as the film progresses, we delve a bit more into what "love" should mean and that the "faults" of our partners endear them to us all the more.
Kazan has created a nice starring role for herself that allows her to play both the initial bubbly innocence of the fresh-faced Ruby and then shift into the more independent-minded woman that Ruby becomes. While I'd apparently seen Kazan in a few films (most notably the western Meek's Cutoff), she isn't someone that had registered with me before. However, after this, she'll definitely be on my radar and I hope that she takes another stab at writing as her screenplay proved to be quite unique.
Much to my surprise, Paul Dano didn't annoy me in the slightest. It's not so much that Dano ever even annoys me, it's just that he always seems to fade away into the background of whatever movie he's in, never really standing out whether that be because his role is minor or because he's being overshadowed by a bigger, more imposing presence (see There Will Be Blood). Here, however, the sheer fact that his character longs to be reclusive and away from spotlight fits Dano to a tee. I think it may be his best work yet -- or, at the very least, his most enjoyable to watch.
With some very nice supporting turns from Chris Messina (a guy who I admire for taking even the smallest of roles and making them memorable) as Calvin's lewd, but incredibly well-meaning brother, along with Annette Bening and Antonio Banderas as Calvin's hippie mother and stepfather, Ruby Sparks proves that romantic comedies don't need to play to the lowest common denominators in terms of either raunchy behavior or bland stereotypes in order to succeed. How this charming film didn't find more success is beyond me considering that it's the best comedy of 2012.
The RyMickey Rating: A-
It got so dark, so damn quickly. I don't know. It made me feel dirty. Like after watching a rape scene.
ReplyDeleteGosh, I loved that scene where he frantically types and "changes" her. Intense. And while I agree that it was a definite change in tone, I felt like it was building to a more intense moment after the party scene.
ReplyDelete