Review of Mr. Jealousy (1998) by Daniel K — 25 Jul 2008

"Mr. Jealousy" is a terrific farce. Made in 1998, it's the second feature by writer/director Noah Baumbach. His first film, "Kicking and Screaming" (1995), was a "Diner"-esque homage to five friends coping with the first year after graduating from college. It's a little stiff and formalistic, and it tries a bit too hard at times to be clever, but it has some wonderfully funny dialogue, and the performance by Carlos Jacott is laugh out loud funny. His third and most recent film, "The Squid and the Whale" (2005), a short and taut rumination on divorce from the point of view of the kids, is probably his best and most mature film to date (Baumbach also co-wrote Wes Anderson's "The Life Aquatic with Steve Zissou"). "Mr. Jealousy, though, caught me completely off guard.

Judging the film by its packaging, one would think it to be of a piece with any of Kate Hudson's by-the-numbers romantic comedies. It's not, though. It's completely original and, while it is obviously influenced by Woody Allen (parts of the ending are very reminiscent of "Annie Hall"), it still manages to find its own voice.

Eric Stoltz plays Lester, a substitute teacher and aspiring writer in New York who becomes jealous of his girlfriend, Ramona (played by the unbelievably cute Annabella Sciorra) when she won't stop talking about her ex-boyfriends. Through a series of very clever plot contrivances which are far too complicated to describe, Lester enters group therapy with Dashiell (Chris Eigeman), one of Ramona's exes who has just published a book about a woman who bears a more-than-passing resemblance to Ramona. But since Lester can't join the group therapy as himself (otherwise he would have to reveal himself to be Ramona's current boyfriend), he assumes the identity of his best friend, Vince (Carlos Jacott), who wants to join therapy, but whose fiancee, Lucrecia, won't let him. Vince gives his blessing to Lester, allowing him to assume his identity, but only if he discusses his (Vince's) problems and reports back to him (Vince) with the group's advice on what he (Vince) should do about said problems. Things get even more complicated when Lester (still using the name Vince) becomes friends with Dashiell, and the become still more complicated when Lester, who wants to leave the group therapy, asks the real Vince to join the group with him while he (Lester) transitions out. Vince, though, assumes the identity of Leo who is obviously a cypher for Lester, only Vince decides that Leo should speak with a British accent, smoke a pipe, and wear an ascot. From there hilarity ensues.

I know it sounds unbelievably complicated and it is, but that's part of the fun of the film. It's an unbelievable scenario that gets ever more unbelivable by the minute, and yet Baumbach and his cast are able to play the whole thing genuinely. So when the ending (which I won't give away) rolls around, you genuinely feel for these people. The last scene in particular, as played over Georges Delerue's theme to "Jules and Jim" is just exquisitely directed: beautiful and poignant and haunting. Even though the plot is contrived (in the best sense of the word), it never requires any of the characters to play stupid.

This is a wonderful film, a romantic comedy that plays against type and is done with an enormous amount of wit, intelligence, and charm. I can't stop thinking about it. Check it out.