Noah Baumbach is back on the scene with another trademark contribution to the subgenre of exploring the complexities of familial relationships. In his new film, Jay Kelly, he pivots to focusing on the regretful introspection of an aging movie star (George Clooney). The film could almost be mistaken for a George Clooney biopic, that is if Clooney had strained relationships with his two adult daughters per his absence during their formative years (I think he has young kids). Jay Kelly is quite charming and is a ride that I wanted to board straight away, but over time that same introspection the supporting characters endure is a bit contrived and ham-fisted. It holds back an otherwise pretty good movie.
The film does feel like Baumbach’s “love letter” to Hollywood, but more specifically acting. As mentioned, I was engaged from the get-go by a continuous tracking shot gleefully showcasing the minutia of a film production, introducing the titular Kelly on set. It was mesmerizing, well-executed, and set an intoxicating vibe that I wanted to tap into further. As Kelly goes on a quest to emotionally redeem himself, that intoxicating vibe wanes over time. Kelly’s management team (Adam Sandler and Laura Dern) respectively engage in their own introspection and it’s overkill. On-the-nose melodrama that strangely departs from the authenticity of the initial setup.
What Jay Kelly has going for it is the sprawling, lavish production value as we embark with Kelly on his quest for catharsis that takes him from LA mansions to the trains of Europe. It’s all very nice to look at. Baumbach also experiments with stage play-like filmmaking techniques that are hit or miss. There’s a bit walking in the woods that didn’t work for me. But it’s at least an interesting attempt to visually manifest the revisiting of past memories.
The performances a good, especially Adam Sandler and Billy Crudup. Clooney and Dern do their thing, but Sandler proves (again) he can be quite capable in standing out dramatically while exuding an infectious warmth. While Crudup, conversely, brings a disruptive force of unease as his character ratchets up the tension. It’s a good output from a good ensemble.
I know Jay Kelly is in the awards conversation, but I don’t think it’s up there with the cream of the crop this year. Still, its warm energy and adoration for Hollywood is an enjoyable watch.
