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.
