I went in to the theater to see Silver Linings Playbook this weekend, but hadn’t planned to write about it since it first came out in limited release in 2012.
But then I watched it.
Do you even KNOW how hard it is to get me to like Bradley Cooper? Or how difficult it is for Robert DeNiro to earn back some of the respect I lost for him in this, The Age of Fockers? But Silver Linings Playbook manages to do these things, easily. I haven’t felt this good about DeNiro since Midnight Run. Plus, Jennifer Lawrence reaffirms my belief that I CAN fall in love with crazy people if they touch my heart in a special way. Because her character is batshit, and we are very deeply in love according to all the pretend people I talk to all day, who aren’t my therapist. That guy is sooo out to break us up.
The best thing about the movie is that it comes at you from funny angles. No one behaves how they are supposed to. There are a moments throughout the film where you are genuinely wondering if this thing is a comedy or a drama or a period piece set in modern times, or avant garde, French experimental cinema that ends with a “Fin” placard*, or what? It’s not very often we get to go to movies that are “comedies” and feel genuine concern and empathy for the characters. Usually it’s all “Oh that Adam Sandler! What a cut-up** !”. But not in Silver Linings Playbook. You worry for these characters and you so want them to figure things out for themselves. Probably because they feel like real people and not wacky sitcom versions of real people. No one is going to solve any of their problems in Silver Linings Playbook by dressing up in drag as a fat British Nanny. They fight and argue and laugh and cry and make you want to stay with them just a little while longer to make sure they end up okay.
The performances were simply riveting. Bradley Cooper, he of All About Steve and The A-Team fame, packs a serious dramatic punch I never would have seen coming. So it’s a sucker punch and I still hate him because he fights dirty. At least Jennifer Lawrence kinda gave us a head’s up with Winter’s Bone. I knew she was good, which was totally validated last night when she took home the Screen Actor’s Guild Best Actress Award for THIS MOVIE.
But in seriousness, it’s Cooper that steals the show. He drags you down to a visceral level where you can see and touch and smell his crazy. When he casts his eyes wildly about trying to figure out if he’s delusional, he brings all the audience along with him. There are no quiet, reflective moments in this movie. All the characters are frantic with their own agendas and in applying pressures to meet their needs. Robert DeNiro is back in top form here as well. That’s a sentence I’ve been waiting to write since “Analyze This” came out. He’s that lovable unstable father figure that we all wish desperately we weren’t related to. Jacki Weaver as the Mom shouldn’t be overlooked either — she plays her role with a perfect subtly, quietly exerting her will over her family. And of course, who could forget that this movie marks the return of Chris Tucker, in his quietest role ever. Not that it was QUIET…just quiet for him. Like if you dropped an armful of china into a rock crusher that would be quieter than an explosion. So not super-quiet, is my point.
So this is me, telling you all about the movie I wasn’t going to tell you about. It’s that good. It would have been irresponsible of me to not tell you to go see this film. And God knows I’m all about responsibility. (*Kicks can-opener and can of cat food in cat’s general direction. Takes nap*)
*To be fair I never REALLY thought it was French or avant garde. It’s too enjoyable to be either.
**Adam Sandler is NOT a cut-up. Any similarity to funny people living or deceased is purely coincidental and probably involves a fart joke.
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