The opening isn’t promising-or, rather, the promise is the movie will be grueling. And we see all at once that this unstable, self-centered child-woman longs to make things right, even if she doesn’t begin to know how-even if things can never be made right. We stay with her through the embarrassment and come out the other side. For Demme and first-time screenwriter Jenny Lumet, Kym’s humiliation isn’t an end in itself. We start to feel emotions other than discomfort. But as Kym babbles with forced good cheer about making amends and the AA Fourth Step (“Step … step-ball-change … still waiting for the change part!”) and the guests go stone-faced, something unusual happens. In another recent nuptials film, Noah Baumbach’s Margot at the Wedding, nearly every encounter is engineered for us to cringe at the characters’ monstrous egotism. It’s a familiar setup nowadays: The exhibitionist opens his or her mouth, toads leap out, and the camera takes in the wreckage, unblinking, while we squirm or snicker or both. Photo: Bob Vergara/Courtesy of Sony Picture ClassicsĮarly in Jonathan Demme’s heartrending Rachel Getting Married, fresh-out-of-rehab Kym (Anne Hathaway) rises to toast her older sister, Rachel (Rosemarie DeWitt), at the rehearsal dinner, and we know from her first wayward sentences that she’s going to make a fool of herself.
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