The Private Lives of Pippa Lee

I attended the North American Premiere of "The Private Lives of Pippa Lee" at the 2009 Toronto International Film Festival. Written and directed by Rebecca Miller from her own book, this is the complex, multi-layered life story of a woman trying to survive her checkered past. Its stellar cast makes this film a joy -- Robin Wright Penn is extraordinary as the titular character, while Keanu Reeves, Blake Lively, and Winona Ryder truly shine in supporting roles. But "The Private Lives of Pippa Lee" is, most of all, a vehicle for the legendary Alan Arkin as Pippa's husband Herb Lee. He's at his best yet.

The script is about 5/50 drama and comedy so it's hard to pin it down either way. But that's what real life is, isn't it? The art and costume direction are superb with great care taken to ensure that each of Pippa Lee's "lives" has its own unique color palette and sets to match. Keeping it all together is a wonderful recurring musical theme and sweet score. There are a number of clever transitions between sets and time periods which were not done with computers but "in-camera." As an aficionado of the craft of film-making, these set tricks blew me away.

Remember Lucy Jordan? The tragic heroine of Shel Silverstein's 1975 ballad immortalized by Marianne Faithful? Think of this fabulous movie as of Lucy Jordan's life set in an alternate universe, a universe in which she doesn't kill herself at 37. Rather, she rides out her life as a radiant wife and a loving mother of two. Pippa Lee (Robin Wright Penn) is about ten years older than Lucy Jordan at her time of dying. But her father-figure husband (Alan Arkin), many years her senior, isn't getting any younger, her kids are distant both physically and emotionally, and her friends are really not much help at all. As Pippa starts to lose it, a stranger (Keanu Reeves) comes to town. Writer-director Rebecca Miller, who is also an actress of some distinction, has composed an engaging tale that is touching, but never cheesy. There's a moment in one of the flashbacks when the story is about to take a Charlie Kaufman turn, but it doesn't. No regrets though. Outstanding performances by Robin Wright Penn as Pippa Lee, Blake Lively as her younger self, and Maria Bello as her mother. Guest appearance by Winona Ryder as Pippa's best friend Sandra. Stay for Lucinda Williams, whose 1978 classic "I lost it" is playing over the credits.

This will be regarded as 'a woman's movie' since it is written and directed by a woman (Rebecca Miller) and its central character (Robin Wright Penn) and most of the support roles (Julianne Moore, Winona Ryder, Blake Lively, Mario Bello, Monica Bellucci) are women too. But the male roles (Alan Arkin and Keanu Reeves) contribute to a stellar cast and the themes of self-discovery and self-expression are universal. If Pippa is angst-ridden, it's because she's had a traumatic life and the movie reveals a series of dramatic incidents, while concluding on a hopeful note. With not a car chase or a special effect in sight, this is an adult film in the proper sense of the word and as such well-worth viewing.

The Private Lives of Pippa Lee is a film that concerns itself with the people in it, rather than a narrative. Each character is unique and well developed, but more importantly, feels real and easy to care for. There are no cardboard cutouts or roles simply convenient to the plot. Their actions are delightfully unexpected, yet fully consistent with who they are. Even the minor roles feel like they've had 2 hours worth of backstory thought out for them.

The backstory we get to see is that of Pippa Lee (Penn). She has recently moved into a suburban neighbourhood with her husband Herb (Arkin), a publisher who is at least a few decades her senior. Herb has just retired after having his third heart attack, and intends his new home to be his final resting place. The couple have two grown children and some old friends who are witnesses to what appears to be a facade of marital bliss.

The story of how Pippa ended up in this arrangement, starting with her early childhood, is told concurrently with the main narrative. We learn of Pippa's pill-popping mother (Bello), her aunt's gay lover (Moore), and how she met Herb. Meanwhile, the suppressed malaise in the present time begins to make itself known through a number of events, starting with the overnight disappearance of half of a chocolate cake and the appearance of a sock in the refrigerator.

What is truly remarkable about this film are the performances. Robin Wright Penn gives a stunning portrayal of a woman who seems to say more with a smile than with her words. It might be early in the year, but I would not be surprised to see an Oscar nod come voting time. She is a pleasure to watch, and really breathes air into what could've been a lifeless character.

Alan Arkin is great as usual, and the blunt dialogue of his character suits him well. When Pippa's character tells us she longs to listen to him speak, we are in full agreement. Winona Ryder and Julianne Moore also make their minor characters stand out with quirky delightfulness. Even Keanu Reeves is adequate in his role.

One thing this film seems to lack, however, is a strong narrative. At times, it feels like a loosely bound collection of anecdotes from Pippa's life. While each of these anecdotes have their own appeal and quite a few laughs, they don't quite manage to come together into a compelling story, without which the film is just another forgettable family drama, albeit with really interesting people.

More and more, Hollywood is checking out the state of those born in the 50s. The former hippies, with their libertarian ways of life, and what happened to them after the backlash. Why are they nowadays so strangely conservative? What made them become like that?

This is an intelligent version of the theme. Many under-texts show us Pippa Lee as the disastrous teenager and young woman, heading into this relationship with this old man, who pretends to see her, but much more sees himself and his sophisticated needs.

Good acting, good thoughts, unforeseeable feelings, but no real answer to the backlash question.