Diane

GRADE: B

THIS FILM IS RECOMMENDED.

IN BRIEF: One of the most depressing yet insightful films about loneliness and old age, buoyed by a strong central performance by Ms. Place.

JIM'S REVIEW: Diane, Kent Jones' bleak character study, is a film to admire but it is also one that disturbs in its gentlest of ways. Far from being the feel-good movie of the year, the film is insightful as it ponders life-and-death issues, yet it grows monotonous in its approach of depicting dysfunction and despair. Literally, Diane travels down too many roads in search of hope and salvation, unable to find any solace, although Mr. Jones, as both director and writer, does successfully avoid the path of predictability on his journey into sadness.

We have all met a woman like the title character before, that saintly do-gooder who fills her lonely days helping others before introspectively helping herself. Mary Kay Place is Diane and she delivers a quiet and devastating performance of a widow whose life is out of sync. (More on this later.)

Mr. Jones' screenplay creates vivid realistic characters in his story about this enigmatic woman, ably handled by his cast. He slowly unveils Diane's past life as we follow her daily routines. Her to-do list occupies her waking hours: visits to her dying cousin in the hospital, volunteer work at the local soup kitchen, frequent drop-ins to her drug-addicted son. Yes, her days are depressing, as she attends funerals of her friends and family on a regular basis. The film rages against the dying of the light and shouts out that we are all in the winter of our lives. So suffer we must...and we will.

The film's dark subject is well matched by Mr. Jones' greatest asset, his masterful use of natural dialog, as he captures everyday conversations between aging family members and friends. There is a remarkable honesty on display, full blown discussions about health and aging, past discretions and their repercussions, and the inability to save loved ones from their demons, amongst other talk of mundane subjects like pasta casserole recipes and hands of gin rummy.

But it is the film's lack of plot and the episodic structure of the film that sends it off track. The direction is in need of stronger pacing. Finely established characters and their relationship with Diane come and go quickly, without much warning or care. Mr. Jones' use of time jumps, sometimes indicating the passage of months or years, and a few jarring dream sequences in the third act confuse rather than enlighten his fine storytelling. (In fact, as the film races to its slightly unsatisfying conclusion, there is an essential mother-son moment that remains unclear as to its inclusion. One just doesn't know if it is another time shift based in reality or a wistful fantasy scene.)

That said, while there is an overabundance of doom and gloom in this tale, the ensemble of character actors in supporting parts make the film all the more appealing. Andrea Martin, Phyllis Somerville, Deirdre O'Connell, Gyynnis O'Connor, Joyce Van Patten, and the great Estelle Parsons make memorable contributions in smaller roles. Jake Lacy plays Brian, Diane's wayward son, with such conviction and skill. His encounters with Ms. Place are the most powerful and emotionally gut-wrenching in this compelling film.

But the movie belongs to Ms. Place and she is in every scene. This talented and underrated actress delivers heartfelt vulnerability and an inner strength that masks her character's broken spirit. Whether Diane is drunkenly dancing alone in front of a neon-lit jukebox in a dingy bar or scrawling poetic thoughts into her private diary about her solitary existence, the character remains a lost and tragic figure. Ms. Place is so nuanced in her wonderful interpretation of a woman trying to escape from the harsh present and her sinful past, with no positive future before her.

Diane chronicles an indelible portrayal of a woman who outlives her friends and family without much joy or happiness in sight. This seriously-minded film is unsettling in its view of the possible harrowing future that seems so commonplace for so many elderly citizens these days. So I must recommend this film with a caveat: Depending on the fullness of your own personal life, or lack thereof, a visit to this thought-provoking film may (or may not) be your best cinematic option. With so much to laud, it remains your call, dear moviegoers.

"Diane" (2018 release; 95 min.) brings the story of Diane. As the movie opens, we see her dozing off while visiting a family member in the hospital (whom we later learn is Donna, who is struck with cancer(. Diane then drops off some chicken at another family member in need. Then there is Brian, Diane's drug-addicted son who claims it's bronchitis. And on and on. Diane never seems to have time for herself. At this point we are 10 min. into the movie, but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the fiction movie debut from writer-director Kent Jones, whose prior work was all in documentaries, including the excellent "Hitchcock/Truffaut" a few years ago. Here he brings the story of Diane and her family and friends, all doing the bet they can, in Pittsfield, Massachusetts. Even though there is the troubled son, it needs to be made clear that this is NOT a drug-addiction movie like the recent "Beautiful Boy" and "Ben Is Back". Brian's struggles are just a parallel story to many other struggles that we watch play out. At time this is a seemingly mundane people, but in the end we get a rich and nuanced character study that is deeply moving and affecting. Veteran actress Mary Kay Place shines in the title role.

"Diane" premiered at last year's Tribeca film festival to positive acclaim. Now, a year later, it finally made its way to my art-house theater here in Cincinnati. The Saturday early evening screening where I saw this at was attended so-so (exactly 10 people, including myself). Maybe this movie can find a wider audience as it is released on other platforms. If you are in the mood for a rich and nuance character study of an "ordinary" woman, I'd readily recommend you check this out, be it in theater (if you can), on VOD, or eventually on DVD/Blu-ray.

Unusual movie, it's like you meet a stranger (woman) and she let you know of the kind of (tough) life is is having at the moment. Quite well done, but the movie ends unexpectedly!

Greetings again from the darkness. In a film that is both grounded in realism as well as playing like an ode to underappreciated character actresses, our wonderment turns to full comprehension once we realize this is the work of Kent Jones. Mr. Jones is one of today's foremost authorities on film, having been a respected film critic, served as director of the Film Society of Lincoln Center, and delivered a tremendous documentary showcasing the conversations of two more publicized film experts with 2005's HITCHCOCK/TRUFFAUT. In other words, he's a man who loves cinema and has both a trained eye and an instinct for what makes a film worth watching.

Mary Kay Place (THE BIG CHILL, 1983) is Diane. Our first reaction upon seeing her is that she has the well-worn, hangdog look of a woman burdened by life. As we follow her around, we soon learn that's very true and that there is even more to her story. Diane is the kind of person who, rather than keep a list of things to do, keeps a list of people for whom she has to do things. And there are many on her list. Chief among these are her dying cousin Donna (Diedre O'Connell) and her drug-addicted son Brian (Jake Lacy). The self-imposed penance Diane pays all day each day stems from a story referred to as "The Cape" ... a long ago act of betrayal and indiscretion that has clung to Diane ever since.

The rest of the cast is filled with faces you'll recognize (and names you can't recall), many for their work in the 1960's, 1970's and 1980's, including: Estelle Parsons (Best Supporting Oscar winner for BONNIE AND CLYDE, 1967), Andrea Martin (MY BIG FAT GREEK WEDDING, 2002), Joyce Van Patten (sister of Dick, ST ELMO'S FIRE, 1985), and Glynnis O'Connor (ODE TO BILLY JOE, 1976). But don't mistake this for some nostalgic tribute - each of these women offer up exactly what's needed for their respective characters. It's a joy to behold their work - and easy to take for granted.

This little Massachusetts community is tight-knit and speaks freely on the lives of each other. There are few secrets. Everyone asks Diane about Brian - her son that lies to her face, acts perturbed when she tries to help, forces her to listen to bible-thumping, and finally comes clean on why he's treated her the way he has. Filmmaker Kent's first narrative feature is an organic character driven story about aging, carrying a burden, striving to make amends, and suppressing true feelings by constantly serving others. When Diane writes in her journal, "My loved ones are gone and I'm left to be", it takes her (and us) closer to her soul than any soup kitchen possibly could. Casserole dishes can only heal so much., and a lead role for a respected actress serves us all.

The wonderful thing about this film is that it did not feel over-acted. Not for one second.