Listen Up Philip

A comedy about a young writer who, upon the publication of his second novel, increasingly alienates himself from his girlfriend and other friends through his arrogant behaviour. He turns for 'intellectual' and 'authorial' support to an ageing author he respects who is as obnoxious as he is.

The humour is meant to come from mocking these unappealing characters but the film itself isn't particularly appealing either. As a satire on the possible pretensions of the publishing world it suffers from lack of originality, an excess of cynicism and contrived delivery.

The overblown irony of the voice-over further ensures this comedy isn't that funny despite a few amusing lines. What presumably intends to be a comedy about annoying people end up being annoying itself.

Pretty good first half, really suffered in the second half. Its structure could've been really effective, but it's just jarring and, quite honestly, bored me as it went on. The ensemble is the biggest reason to see it. Schwartzman is good, Jonathan Pryce is pretty good even if his segment is definitely where my interest waned. And then there's the easy highlight of it all.

My love for Elisabeth Moss has never been a secret. She's already given an all-time great performance in Mad Men, somehow managing to steal the show from Hamm at her best moments. Earlier this year she had The One I Love, a great film with a fantastic performance from her, and so I happily singed her praises. And now I can sing them again, to an even higher degree. Her character is easily the most interesting, although how much that had to do with Moss remains to be seen. Regardless, it's a shame she's not the main character throughout. She's able to really tap into so many facets of Ashley with pitch-perfect line deliveries and emotional expressions. She's a fantastic silent actress, and she's able to convey just about everything that the role requires with so little. Many actresses could've done well in the role, but we might not have even known how much the role really required. Moss is absolutely spectacular, definitely one of the finest performance of the year so far. For her it's worth it.

I should be a perfect viewer for this movie. I know and care about the literary world and the characters portrayed in this film. Yet, I found it boring and pretentious.

The story telling style, the focus moving from one character to the other, the narration not quite connected to the screen image, the abrupt behaviors, the dizzying camera work and cutting all pointed to a director who wanted to make a showy splash; the jittery techniques of moving the story along overwhelmed the story itself. The tricks are not only not compelling, but they eventually become silly and boring.

Since the Philip character is intrinsically unlikeable, you would either have to hate him so much that you watch the movie to see him get his comeuppance or to laugh at him. But Philip is not that hateful and, while his ferocious self-centeredness might have been quite funny, the Philip character is just NOT funny. All the other characters are inadequately developed, so their self defeating behavior seems mysteriously motivated.

The performances are all superior. This actually makes thing worse, as the actors are all saying "something of importance is taking place here". This sense of importance is then sabotaged by gratuitous directorial razzle-dazzle and characters that will never change.

Thus, this film is not enlightening, not very funny, and not very interesting.

A bizarre movie. A young writer's (Philip) second book is about to be published. He is abrupt, ill mannered, impolite, unpredictable from beginning to end. At the beginning of the movie he rebukes his ex girl friend just because she came late to their appointment, saying he was planning to give this copy to her, but now he is not giving it, and he is living. Later he stops planned promotion of his upcoming book like out of blue sky. Then he leaves his girl friend to get mentoring from an old, famous writer. The guy is just super ego centric, behaving jerky, irritating the viewer from beginning to end. And Jason Schwartzman just fits to this role so naturally.

But funny thing is that this character has its charm also; particularly to women. He gets attraction at first, goes into relation. and then he destroys his credits in the relation without caring.

Can one live like that? Why would/should one like to live like that? What does he want? does he hate to be politicly correct? or just does not want to be a hypocrite? These are the questions stroked my mind after the movie.

One other striking thing in the movie was the superb performance of women characters. From Philip's girl friend Ashley (Elisabeth Moss) to Emily (Dree Hemingway - I would love to see Dree Hemingway in main roles. There is something so teasing with her). They were hyper modern day's real, casual, lovely women.

The story of the struggling writer is not unknown to Jason Schwartzman. He lead the brilliant but oh-so-short HBO show Bored To Death, about a writer who has to turn to detective work for inspiration and cash on the side. It was fresh, because that was just a framing device for something more fun. Listen Up Philip uses struggling to write as the backdrop to cynical drama and sour "I told you so's." If the walls could talk, they would gossip about the fights that have taken place over the years. It opens with a sequence in which Schwartzman's Philip celebrates finishing his second book by rubbing it in the noses of those who didn't believe in him. That's where he gets his satisfaction.

That's the bitter world of Listen Up Philip. Every character is selfish, and miserable for it. The result is a film that's difficult to sympathize with the characters, especially Schwartzman, but it doesn't necessarily ask us to. They may be self-pitying victims of their own hostility, but they eventually do come to self-realizing conclusions, if too late. The film suggests that to make great art (in the form of novels) it requires isolation, cut off from the city and the ones you love, alienating them – as if this is the only way. The jerky behaviour aside, not just general standoffishness but frequent overlapping of relationships, it begs the obvious question of "is it worth it?" Well, no, it's not. Perhaps there are many creatives in the world that need this lesson, either way writer/director Alex Ross Perry is keen to explore it and take us with it.

With a less familiar cast, this would definitely be labeled a mumblecore film. It borrows a French New Wave aesthetic (complete with a jazzy score) featuring rugged and dark hand-held 16mm photography. It can be a little sloppy with a lack of restraint, having some sequences comprised entirely out of dizzying close-ups. It does however add important weight to the drama and fortunately grow more confident by the second half of the film. This style is inherently intimate, if not necessarily engaging, and we feel like voyeurs. In turn, the humour of the film just doesn't work. It didn't elicit a laugh from me, only a smirk. It's not necessarily cringe-worthy, it's just the offbeat nature of it doesn't land in this environment, despite its 'Laugh' categorization at this festival.

It's the ensemble that gives the drama the atmosphere the film needs. The script is otherwise serviceable, with a couple of idiosyncratic if indulgent licks scattered throughout. Instead it's more interested on being on the verge of tears. Elizabeth Moss is the undeniable highlight. She's always been fascinating to watch on AMC's Mad Men, and here she shows the ferocity and vulnerability that makes Peggy compelling. Her character may feel extraneous, but her presence is most welcome. Also great, but on a lesser scale, is Jonathan Pryce, who teeters fine lines with skill and makes a character that could've otherwise been trite (aka the cautionary vision of the future for Philip) believable and endearing. However, the film often seems too aimless with no end game in sight. It feels more organic, but it's missed potential.

In the second half, the narrative bounces through the three characters, a little clumsily, but it's better for exploring the characters with a bit more depth than it could have missed with a straightforward approach. The style is a little free form, which can feel quite liberating, but mostly hints at a lack of discipline in Perry. Even with the film's rawness, it does feature touches of Wes Anderson with a Tenenbaums-esque articulate and omniscient narration – one that only barely justifies itself – as well as insert shots of books inscribed with in- jokes. Maybe the involvement of Schwartzman just attracts that unique style, although here it's rarely connected to him. The cast saves Listen Up Philip from being a complete chore but it still suffers from unsympathetic characters and tired clichés. Save the struggling writer scripts for the exercise pile, please.

6/10

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