O Casamento de Rachel

Sitting through a movie about sibling rivalry at a wedding, especially one starring the doe-eyed and normally facile Anne Hathaway, sounds like a potentially painful way to spend an evening. However, as directed by Jonathan Demme and written by Jenny Lumet (Sidney's daughter), this 2008 drama is not a lightweight star vehicle à la Julia Roberts circa 1997 but a darkly realistic look at the dysfunction within a family thrown into disarray. Using an almost cinéma vérité style, Demme explores how a wedding reopens old wounds within a family in a naturalistic way made all the more palpable by the emotional acuity in Lumet's screenplay.

The focus is on Kym, a chain-smoking former model who has spent the last several months in rehab. As a substance abuser whose only armor is cutting sarcasm, she is absurdly hopeful that her sister Rachel's wedding will be a harbinger for unconditional love from her upscale Connecticut family. Therein lies the problem as her narcissism provides the catalyst for long-simmering tensions that uncork during the preparations for a lavish, Indian-themed wedding weekend (the movie's working title was "Dancing with Shiva"). It soon becomes clear that Kym's link to a past tragedy is at the core of the unpredictable dynamics that force confrontations and regrettable actions among the four principal family members. Rachel appears to be Kym's sensible opposite, but their alternately close and contentious relationship shows how they have not full recovered from past resentments. Their remarried father Paul is a bundle of loving support to the point of unctuous for both his girls, while their absentee mother Abby is the exact opposite - guarded and emotionally isolated until she is forced to face both her accountability and anger in one shocking moment.

Anne Hathaway is nothing short of a revelation as Kym. Instead of playing the role against the grain of her screen persona, she really shows what would happen if one of her previous characters – say, Andy Sachs in "The Devil Wears Prada" - went another route entirely. The actress' studiousness and persistence are still very much in evidence, but the story allows her to use these traits under the guise of a self-destructive, often unlikable addict who gains attention through her outrageous self-absorption. As the put-upon title character, Rosemarie DeWitt realistically shows Rachel's sense of pain and resentment as the attention veers to Kym during plans for the most important day of her life. Bill Irwin is winning as the unapologetically grateful Paul, but it's really Debra Winger who steals her all-too-brief scenes by bringing the remote character of Abby to life. Now in her early fifties, the famously tempestuous actress seems to rein in her innate fieriness to play a woman who consciously disconnects herself from the family she raised. What remains is a crumbling façade of propriety masking this obvious gap. It's similar to Mary Tyler Moore's turn as the cold mother in "Ordinary People", but casting the normally vibrant Winger (who probably would have played Kym a quarter century ago) is a masterstroke.

The film is not perfect. Demme's home-video approach, while novel at first, proves wearing over the 114-minute running time. Pacing is also a problem, especially when the focus turns to the minutiae of the wedding ceremony and reception. I wish Demme could have cut this part of the film, so we could get to the icy, unfinished resolution sooner. As a filmmaker who obviously enjoys making music concert films ("Stop Making Sense", "Neil Young: Heart of Gold"), there are quite a few musical performances presented in total. However, for non-aficionados, it may prove too much over time. While it's refreshing to see interracial marriages treated so casually (Lumet's grandmother is legend Lena Horne), Demme makes almost too big a point in presenting a global community though the diverse music and the wedding's multi-cultural themes. The movie starts to feel like a Putumayo collection of third-world performances. Still, Demme's intentions can't be faulted, and neither can the piercing work of Hathaway and Winger.

"Rachel Getting Married" is one of those films that leaves you (if you don't leave it first, as I did) with a burning desire to find the director of photography (Declan Quinn), give him a thorough shake, and shout in his face, "WHAT WERE YOU THINKING?!!!" What possible artistic pretension could lead a photographer and director to destroy every ounce of potential by an overused, overworked, unoriginal, seen-it-a-zillion-times style of shooting? Weren't they confident enough to trust the writing and acting with producing the claustrophobia and panic of acute family dysfunction? While the viewer is desperately searching for her dramamine pills, the camera is reeling from side to side, jumping every which way, assaulting the actors with suffocating close-ups--and repeating this cinematic mannerism literally ad nauseam. Stay away.. unless you're a trained pilot and can take motion sickness well.

Well the movie itself wasn't anything special. I was wondering why every person in the cast had to give a speech, or sing a song, or whatever. The shaky cam as well was not necessary. It's not a documentary so don't treat it like one.

The film's obvious strong point, and really the only reason worth watching is Anne Hathaway's performance. Speaking as someone with a sister who is a (sometimes recovering) drug addict, I think she nailed it in the way her character was unstable yet narcissistic, starved for attention, and over the top emotional. I could really relate to her sister in that sense- how annoyed she gets the way people coddle her sister because she is immature and makes stupid decisions. It was just the little details that I think made Hathaway's performance so realistic- the tone she would use when she would make a joke about rehab, that trying to be sarcastic to get a laugh, but really just saying it to bring attention to the fact that she has issues. It showed that even if somebody is in recovery that doesn't necessarily mean they are recovered- that they have personality traits that are never going to change. I think she really captured the essence of that type of character.

There was also great performances, though, from the actors who play her mother, father, and sister. So bravo to pretty much the whole cast.

B-

This film is about a recovering alcoholic with a tormented past. She returns home to attend her sister's wedding, which stirs up much emotions and wounds.

I was thoroughly bored by "Rachel Getting Married". It is far too long and far too slow. The family dysfunction scenes are captivating, but they are interspersed far in between wedding scenes. The film could be just half as long if they cut away the repetitive speeches and the everlasting dances. I really think the 5 minutes of continuous dancing to different styles of music adds nothing to the film but boredom.

I hoped "Rachel Getting Married" would be a captivating and engaging drama, but I was disappointed.

A great performance by Anne Hathaway and a good story gets lost inside a horribly shot and edited film. Way to many "why did they do this" questions, way to many overly long scenes, and quite possibly the worst use of hand held camera technology in recent memory. 2 or 3 scenes could have been cut by more then half and gotten twice the effect. The use of music became annoying. People were walking out claiming to be nauseous, have headaches, etc. Would love to see have seen one steady shot, one establishing shot, one non-closeup. With that said, was worth seeing just for the performance of Anne Hathaway who was a revelation and now catapults to the head of the class of the 20 something acting class. This emotional performance marks a turning point in her career and makes me want to revisit some of her past performances to see what was there.