Editor Rich Fox has done a splendid job giving momentum to a story that could have been shapeless, and John Bailey’s photography puts the action in sharp focus, the better to see the deeds done.David Foster Wallace was born in Ithaca, New York, in 1962 and raised in Illinois, where he was a regionally ranked junior tennis player. It’s a chilling moment to which Sara responds with icy silence.įor the most part, the film is more cerebral than emotional, and the denseness of the material makes the brief 72-minute running time feel like more than enough. He’s Sara’s ex-boyfriend and her intellectual equal who fashions an elaborate rationale for why he cheated on her with a woman for which he had nothing but contempt. Timothy Hutton is suitably smarmy as Sara’s professor, but Krasinski turns in the most devastating performance to climax the film. The actors all work at a high level, and their monologues using Wallace’s precise language literally feels like a class in acting. On another occasion, Sara (Nicholson) overhears brash businessman Christopher Meloni describing to his friend Denis O’Hare what happened when he hooked up with a despondent woman abandoned by her boyfriend at the airport.Īn inspired set piece has Frankie Faison visiting the men’s room where his father made a career out of servicing the needs of white men, and explaining how the disgust he felt about his father informed his whole being. Bobby Cannavale plays a man with one arm who knows how to use his affliction for sympathy and then close in for the kill. Or the one who breaks up with five different women with the same line. There’s all sorts of crazy stuff, like the guy who for some unknown reason is compelled to shout “victory for the forces of democratic freedom” just before he has an orgasm. Sometimes the interviewees appear in an antiseptic room talking into a microphone, and sometimes the events they’re describing are dramatized.
The interviews start on a lighthearted note and progress to some nasty revelations about what men are really capable of. It’s somewhat simplistic to say that all men are this terrible, but it makes for better storytelling. Most of them don’t have a clue, but their deceit and manipulation are so clever and deep-seated it’s like watching a car wreck on the side of the road: You can’t take your eyes off of it. Krasinski has added a female character, an academic played by Julianne Nicholson, who interviews a cross-section of men about their relationships with women. Guest Column: How the Use of Open Captions Can Enhance Creativity, Not Just Accessibility
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