‘Away We Go’ a must for 20 or 30-somethings
‘Away We Go’ a must for 20 or 30-somethings
A scene from 'Away We Go' (C) Focus Features
More surprising than showcasing two TV actors known for comedy but actually churn out heartfelt and endearing performances, is director Sam Mendes’ ability to craft a stripped-down “indie” film while delivering his patented inter-family plight. Though filled with quirky vignettes that feel more like skits than a cohesive narrative, Away We Go, is a slightly flawed yet deeply thoughtful journey of young thirty-somethings on their progression from twosome to family.
Ignoring slapstick cliches of typical comedy pregnancy routines, Mr. Mendes captures the disillusionment and shock of learning that, perhaps, we are not as special as we were led to believe. “Are we f*ck ups?”, asks Maya Rudolph’s character Verona, to her longtime boyfriend, Burt (John Krasinski). Their feelings are understandable. Living in a shabby shack with virtually no prospects, they don’t meet the definition of success within American society. Burt drives a clunker and as Verona points out during her momentous ponderings of life, they have cardboard for a window. It’s the perfect question for those 20-30-somethings grappling with life and responsibility and the expansion of family.
After learning of their pregnancy, Burt and Verona have dinner with Burt’s parents (played brilliantly by Jeff Daniels and Catherine O’Hara). After the bombshell drops that they’re moving to Belgium for two years shortly before the arrival of the baby, the perfect opportunity presents itself. Let’s go find a suitable home.
As our duo travel through North America, their first stop is in Phoenix to visit with Verona’s old boss, the loud-mouthed Lily (Allison Janney) and her sad-sack husband Lowell (Jim Gaffigan). Meeting at a dog track, Verona and Burt learn that, like Burt’s own parents, they know for sure they do not want to emulate the poor parenting on exhibit. It could be the constant verbal abuse towards their offspring (“I know for sure [my daughter] is a dyke. Look at her. Hey, do your tough walk!”) or it could simply be the rampant drunkenness and the crude manner in which they treat each other.
Next stop: Madison, WI.
Popping in to see Burt’s childhood friend who is a professor of gender studies at Wisconsin University. Choosing to go by “LN” (Maggie Gyllenhaal), she and her stay-at-home husband (Josh Hamilton) are the height of New-Age pretentiousness. Judgemental finger-waggers, they have forsaken strollers and private fornication for a “seahorse community” (Did you know that the male seahorse delivers the baby? It’s true!). This sort of thing isn’t for Vernona and Burt.
Next Stop: Montréal, QC
Meeting up with old college friends, our duo meets the sanest of our families, thus inducing the birth of the heartbreaking qualities of the film. Unable to conceive children on their own, Tom and Munch (Chris Messina and Two and Half Men’s Melanie Lynskey) went the way of adoption, thus leaving a part of Munch’s heart unfulfilled and bringing Away We Go’s most honest and tearful moments.
Ending in Miami, Burt learns of marital complications for his brother (Paul Schneider), which sends our hipsters into self-questioning, reflection and a deep analysis of their own future. Despite our main characters appearing immune from their own criticism which, ironically, places them into their own jungle of hypocrisy, which is pitch perfect, they reflect the transition and foibles that many within the late Gen X/Early Gen Y go through as they move into the eye-opening experience of being a “grown-up.”
John Krasinski (The Office) and Maya Rudolph (Saturday Night Live) provide staggering performances, not because of any jaw-dropping ability, but because it’s impressive to see such believability and warmth from them. In fact, overall, Away We Go has excellent performances all around. Yet the inescapable feeling that the audiences are watching two films is undeniable. Starting off as a post-Juno quirk-fest then delving into serious matters gives the film a disjointed feeling. It’s easy to look past that thanks to the realism brought by the performances.
