Review of Listen Up Philip (2014) by Nathan M — 07 Mar 2015

Deftly directed and envisioned by Alex Ross Perry, "Listen Up Philip" takes an unflinching look at destructive egos. Philip Lewis Friedman (Jason Schwartzman) is a talented writer who has just published his second novel. Despite his success, Philip remains grossly dissatisfied with life. Consumed by his craft and self-image, Philip is arrogant and dismissive, a solipsistic narcissist really, who fails to make real human connections. Schwartzman's deadpan works brilliantly here.

Philip's insensitivity and judgemental nature make him excruciating to tolerate as a romantic partner. Like a toxic gas, his state of existential ennui has diffused into the life of his long-time girlfriend Ashley Kane (Elisabeth Moss). Jilted and disgruntled, Ashley has become just as isolated and forlorn. Moss, who is infinitely compelling onscreen, serves as an emotional centre for the film. There's a moment when Ashley has the apartment to herself and she feigns a smile, even though no one's watching, as if she's uncertain of her own happiness. In another scene after an argument with Philip, the resentment and hurt that registers on her face is quietly shattering. It's that subtlety and precise intention that make Moss a frighteningly good actress.

Meanwhile, Philip has left their New York apartment and gone on a retreat with his literary icon, the ornery and reclusive Ike Zimmerman (Jonathan Pryce). Ike acts as a mentor to Philip, while casually luring him into the same hermetic lifestyle. A victim of his own complacency and ego, the aging author, played superbly by Pryce, earns more pity than loathing. These two tortured artists are mirrors of one another: both unwilling to make compromises for their creative endeavours and both tragically alone because of it.

Incisively written and mordantly funny, "Listen Up Philip" is caustic and bitter to its core. Perry's unflattering portrait of elitist literati reveals a fascinating dichotomy: these artists are able to convey profound humanity and insight in their work, but they struggle to find meaningful closeness and significance in their real lives. Perry laments the sad and ugly truth behind beautiful work.