Un beso más

The Last Kiss, a film by Tony Goldwyn (Yes son of Samuel Goldwyn) was adapted from the 2001 Italian film L'Ultimo bacio, and written for the screen by none other than Paul Haggis. The Last Kiss goes through a number of relationships, spanning a number of different ages, and dissects the hardships of those relationships. Zach Braff seems to have upgraded his acting from Garden State and might actually become a more dexterous and talented actor than previously perceived. Paul Haggis' wonderful dialog lends greatly to the reality and adversity that co-exist alluringly within this screenplay. This film has been incorrectly advertised as a romantic comedy that puts Braff in the middle of two girls, and he cannot decide which one he wants to continue his life with. This is simply not true. The film is about a group of people that have just seen what the rest of their lives are going to be like, and want to add a small bump in the road of life. Overall the film does a lot more than your average romantic comedy/buddy film, and shoves the afflictions and austerities of modern-day relationships in your face. This is not the greatest of date movies, like the trailer wants us to believe, and should be perceived as a more earnest and pensive film than it appears.

I found myself actually enjoying this movie very much. Without giving anything away, it deals with the story of four male friends and how their relationships with women have evolved. They are all in their late 20's about to hit 30 and the reality of behaving and acting like an adult suddenly sets in.

I liked the movie very much because I saw myself in the main character and how I used to be when I was his age. Entertaining! The ending was actually surprising--the movie dealt with how both men and women react when they are hurt by the ones we love.

Go see it! Two thumbs up!

"And he knew, before he could kiss her, he must drive something out of himself. And a touch of hate for her crept back again into his heart." D. H. Lawrence, Sons and Lovers

I don't know about you, but maintaining love amid the pressures of modern society makes me feel every time as if this is the last kiss, even in a long term relationship. Will she tire of me or I of her? Will a baby change everything? Will marriage lock me in to my future without my control?

These and other contemporary issues such as realistically understanding parents' adult-love situations are the purview of The Last Kiss, an intense melodrama that watches the disintegration and sometimes rehabilitation of every relationship in the film, including a parents' seemingly perfect union.

As writer Paul Haggis did with Million Dollar Baby and Crash, he fashions reality-like dialogue around common struggles, which he elevates to universals. For example: "The world is moving so fast now that we start freaking long before our parents did because we don't ever stop to breathe anymore." This is not Eugene O'Neill, but it may be closer to modern idiom than the noted playwright's work.

In other words, these situations sound more real than reality TV, even though both are scripted, possibly because this film does not attempt to glamorize or accessorize the everyday challenges of maintaining love. Ibsen crossed with Pinter is the closest I can come to the style and tone of The Last Kiss, as good an explication of modern romance as we're going to get this year.

Granted, the people in this film are better looking than we and have more leisure time to agonize than we do, but then the beauty of art is in excising the mundane and exposing the big issues often played out by the beautiful. I fault the film only for its absolute adherence to reality, which does not admit elevated language while other elements are heightened such as the beautiful parents' home and the temptress's unworldly seductiveness.

Be prepared to face yourself if you have a last kiss.

Although I could never pin-point the one "off thing" about Garden State, I still am in believe that it is one of the best films I have seen in the past few years. Zach Braff really showed his worth with that film, and being an off-fan of Scrubs as well, I looked forward to his next film. It has been two years, but finally we now have The Last Kiss, which was scripted by recent two-time Oscar winner Paul Haggis. I managed to win a double pass to see a sneak preview of the film, and after seeing it, I am very glad that I did.

The Last Kiss centres around Michael (Braff). He is twenty-nine, and like anyone growing up, is conflicted about life. He has a wonderful girlfriend, Jenna (Jacinda Barrett), who just happens to be expecting their child, and life-long friends (the likes of which include Casey Affleck and Eric Christian Olsen). But as he is beginning to go through this crisis, he ends up meeting a young College student named Kim (Rachel Bilson), who becomes totally drawn to Michael after she lays eyes on him during a wedding.

What follows is a somewhat poignant coming-of age story. It is a bit of a departure from the usual work Haggis does, but his work here is just as good as the rest. On one hand, it is nowhere near as good as Garden State, but on the other, it feels more realistic and more mature than it. These are real characters facing real problems, and the fact is that, almost anyone can identify with them. The film stays grounded in reality for its entirety, and rarely deviates off course (unlike some of the strange subplots in State).

While it does focus on Braff's character mainly, there is special attention brought down in many cases to Affleck's character (as Olsen's soul purpose seems to be most of the comedy and/or sex scenes). It is honest and for the most part, absolutely heart-breaking to watch the characters go through life's challenges. But at it's core, like State, it is a film that speaks to the current generation, and tries to make an attempt at letting them know that everyone feels these anxieties, and that they truly are not easy to deal with. I would be lying if I did not say that I saw a little bit of myself and my thoughts in these characters.

The excellent performance here from Braff only continues to prove why he will soon become one of Hollywood's most sought-after actors. While some of the things his character ends up doing over the course of the film may become slightly agitating, his performance does not. Although his facial expression barely changes throughout the film, you can see the genuine emotion he is conveying in his performance. His body language and demeanor is both touching and pitiful (in a good way) at the same time. You really do not know if you want to love or hate this guy through his anxiety-ridden phase, and as a result, Braff really strikes an emotion-chord that probably would never have been even nearly as well developed with any other actor.

Barrett and Bilson really stand out as the women in Braff's characters life. They play their characters so they distinctly different to the point of it being deliciously delightful all at once. The two contrast each other magnificently, from Barrett's wholesomeness to Bilson's devilish sexiness. The happiness and sadness they have to go through is excellent, and again, really gives a sense of realism to the film. They really grow throughout the film, and their chemistry with Braff is an absolute wonder to witness. Supporting turns from Affleck, as well as Blythe Danner and Tom Wilkinson as Jenna's parents are all very well done (although slightly underplayed), and only complement the other three even more so.

The only thing I can really find wrong with the film lies squarely with Haggis' script (which was reportedly edited slightly by Braff). While the film is great, it really does not stay solid on what it is trying to be. Is it a comedy? Is it a drama? It is hard to tell, as scenes that should be purely whimsical are not all that funny, and devastatingly dramatic scenes have the audience laughing hysterically. This only happened in a few instances (the rest of the scenes are either funny or dramatic), but it was downright awkward in many cases. Braff managed to blend the two together quite well for Garden State, and we have seen how masterful Haggis' work is, so why does it all not totally come together here? It really makes for quite the serious question, as the film could have easily slipped in as the best of the year so far, but must contend with being just one of the best.

While the film has a chillingly bizarre problem with its tone, the performances and story more than make up for it. This is an excellent and poignant coming-of age film, and yet another vehicle to show off the work of Braff and Haggis. And with a superb supporting cast to boot, I am unsure of what more to ask for.

8/10.

If you haven't the original Italian movie this is based on, do yourself a favor and watch it instead of this. If you already have watched the remake, you can still go and revisit the story which is handled way better. Of course you will feel differently about the Remake and like it much more than my rating is suggesting at the moment. But if you take my advise you might see where I'm going with this.

While Zach and others are doing a decent job, you'd expect the movie to capture the essence way better than it actually does. If you have seen Garden State you might even be disappointed by the lack of effort (or at least it feels like a lack). Relationships are hard work, remakes are even harder work ... or not