Synecdoche, New York review

There’s just something about a Charlie Kaufman script that I love. They’re bizarre and non-linear, forcing you to either pay attention or you’re lost. But despite the oddball presentation, his characters are so rich and fully characterized; I end up finding a few pieces of me in them. Synecdoche, New York is probably his most complex script, yes, even wackier than Being John Malkovich or Adaptation. For the casual movie go-er, I really don’t think I would recommend this film to you. If you’re in for a night of entertainment; a quick digestible film that pleases you for 90 minutes, well, look else where. But for those you want to be challenged and rewarded for their time and patience, please go see Synecdoche, New York.

 

Caden Cotard (Philip Seymour Hoffman) wants to create a new play, a wholly personal one, after winning the MacArthur genius grant for a reinterpretation of Death of a Salesman. The problem is his life is spirally secretly out of his control. His wife Adele (Catherine Keener), a famous painter, has left him, their daughter is growing up controversially, his secret admirer (Samantha Morton) loves him, a man (Tom Noonan) who has been secretly following his every move desperately wants the role of Caden in his play, and all the while the years slip on by. That’s as streamlined as I can get the plot. Kaufman has filled the film with some beautiful images, this being his first directorial effort, and some visual metaphors.

 

Synecdoche, New York is a tough film to take in, that’s for sure, and I even was at odds with some of my feelings after seeing it. But then, the magic of Kaufman’s writing seeps in and soon you find yourself thinking about the film. It doesn’t let go. I had a similar experience with Eternal Sunshine of the Spotless Mind. That’s what I love of Kaufman. While I personally can relate to his characters, I feel that he can write some of the best well-constructed characters around. Caden is full-realized, a man so consumed into his masterpiece of theatre that the line blurs from his life into the play. People play people from his life. It’s a mirror. From his insecurities to death, everything is in the play and he will learn lessons. It’s a strange trip, but a film I would recommend seeing at least twice to soak it all up.

 

Hoffman’s character says “it’s all in the title.” By figuring out what synecdoche means helps, but I feel like it’s all in the characters for the meat of what the film is. The cast is superb, I guess no matter how brilliant of a script, if you don’t have actors who are up to its task, and it doesn’t work. Hoffman could be the best working actor today, Samantha Morton is so cute, but is probably underrated in the topic of great women actresses. She’s amazing here. It’s fun to see Tom Noonan again in something where he can really do something. Hope Davis, another underrated actresses in my book, gives a slimy goofy performance that’s worthy of some laughs. That’s another thing I love about a Charlie Kaufman script: his women characters are written equally as strong as the men.

 

All in all, I feel that Synecdoche, New York is a challenging film but those who want it will be rewarded. It sticks with you and demands repeated viewings. For fans of Kaufman, this is a must see, all his themes and surrealist ideas are here in ten fold in an ambitious, grand vision.

 

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