Les Berkman se séparent

Not being a child from a product of divorce, after seeing this movie I can appreciate the push and pull that manifests from divorce. Now, I am positive that not all broken homes are this broken, but Noah Baumbauch creates an environment that makes you squirm and want to cry all at the same time. All of the performances are near perfection and are executed with utmost conviction. I find that Jeff Daniels is one of those actors who get better with every movie he does. He is completely unlikeable in this movie yet you feel for him and you want him to get it together. Very few actors can play a prick and yet you are rooting for him and there are a few points in the film where you even buy into his bullshit as much as his oldest son (played by Jesse Eisenberg) does. The Squid and The Whale is not the most uplifting of fare, but it is a must view for anybody who appreciates film, not movies, film.

"The Squid and the Whale" is such a corrosive look at marriage and child rearing that it could inspire a backlash among parents to ban arts education, if not literacy altogether, from the schools in order to prevent their children from revenging upon them as much as writer/director Noah Baumbach does on his family, notwithstanding the usual closing disclaimer of fiction.

Almost as raw as the old PBS documentary series "An American Family," it is such a savage look at divorce that it could also be used to discourage people from getting married in the first place, let alone having kids or considering moving to a kibbutz where the kids would be raised communally. Evidently it was cathartic for Baumbach as he did get married when the film was completed (and his now spouse is thanked in the credits).

Produced by Wes Anderson, it seems like the nonfiction inspiration for "The Royal Tenenbaums," with urban, urbane siblings who aspire to be a writer and a tennis pro. The tennis, and ping pong, images repeat continuously throughout as the kids are bounced back and forth between the parents in a very negative portrayal of competitive joint custody, where even a parent moving close by is torture - "The other side of the park - is that even in Brooklyn?", vividly demonstrating how small a kid's world is.

Baumbach has clearly studied Woody Allen movies, also in smoothly incorporating very funny lines, and he uses Brooklyn, specifically the Park Slope neighborhood, like Allen uses Manhattan, street by street, subway stop by subway stop, though this surely will reinforce every prejudice the rest of the country has against raising kids in the city. I doubt out-of-towners will understand the karmic significances of looking for and finding a parking space. The final scenes in Manhattan seem an intentionally cathartic solution as in "Saturday Night Fever."

Jeff Daniels plays an even more obnoxious father as writer than Jeff Bridges in "The Door in the Floor" (ironically, as Daniels says he's frequently mistaken for Bridges by fans). He is frighteningly judgmental, hypercritical, selfish, competitive and all around emotional abuser, and out and out neglectful, though I'm not sure Oprah would do a show about this kind of abuse. He has absolutely no sense of appropriate boundaries between his pre-adolescent/adolescent sons and himself, and involves them in way too adult views that damage how they can be age appropriate. (Though it is a bit too arch to have his writing career be on the skids while his wife's begins to flourish.)

This is one of the few films about kids I've seen lately where the use of profanity is appropriately shocking as in this hyper articulate family it is emblematic of the family's break down in communication as the kids blithely parrot what they hear at home without understanding much of what they are talking about.

The younger generation handles scabrous lines of detailed dialog magnificently. Jesse Eisenberg had to endure similarly nasty lessons about male-female relationships in "Roger Dodger" and takes it a step further here. Owen Kline, Kevin's talented son, handles with aplomb scenes that reveal quite more about pre-adolescent boys than most females, even their mothers, may comfortably want to explicitly know goes on. The lacerating men and women of "Closer" at least didn't have kids and in "We Don't Live Here Anymore" (with another tempted college professor) the kids were fairly obliviously very young. This film very clearly illuminates how brutal deteriorating parental relationships are on older children, particularly in how they relate to the opposite sex. I assume we're supposed to feel positive at the end that the kids' cries for help are finally being heard, but I'm not sure the parents have grown or changed.

The other kids in smaller parts are also very natural. Laura Linney's beauty is downplayed for some reason. She doesn't usually get to be maternal in films and she shows that warmth in lovely ways here. I'm pretty sure William Baldwin's character is intended to be both bland and annoying. Anna Paquin doesn't get much to work with as the usual student temptress in the plot, though she brings a certain ditsy cheerfulness to the role.

The music is wonderful, including a score by Britta Phillips and Dean Wareham of Luna. A Loudon Wainwright song, who has written extensively of similar father/son issues, closes over the credits. Pink Floyd figures in the plot and it is a bit hard to believe that the parents of Park Slope in 1985 were not familiar with Roger Waters.

This is not a date movie -- unless you want to break up with the person afterwards or tell your spouse you want a divorce or tell your significant other you definitely never want to have kids.

This movie is a good film, that's for sure. The actors perform brilliantly and the script is original and touching. However, all this is boring.

I guess people with an interest in the social aspect of one's life will find this very nice and good. For the parents (and children) who are on the same path as the character, should they choose to really understand the movie, it will be a learning experience that will save them from a lot of pain and anguish.

OK, the guy is a cowardly hypocrite that hides behind his intellectual aura tons of frustration and, surely enough, stupidity. The woman leaves a life of discomfort and maybe even fear, but lacks the courage to do anything about it. She cheats on the husband then leaves clues to it, so that the responsibility of the divorce would fall on him. The sons pick sides based on age, both mimicking behaviour that they don't understand yet, and thus making fools of themselves. Very weird and socially tense situations, but that's it. After the first half an hour you know everything there is to know, only the awkward situations remain, in a hostile, not humorous manner.

The ending is as devoid of resolution as the entire content. The problems are there, you know what, where, when and how, but there is no solution. In the end, the film is nothing but a portrait, you either like it or you don't.

HERE...I am going to serve up a rather Long LIST of Details,,,,

BUT. FIRST... Let us FOCUS on the Title´s Content and Context:

For dyed in the wool fans of European cinema, The Squid and the Whale, an independent production, Grand Prize winner at the "Sundance" Film Festival, has much more in common with films from the old continent than with those huge budget Hollywood productions. IMDb lists its budget as 1.5 Million, most certainly paltry, especially when compared to the 100 to 200 million dollar behemoths that abound in LA-LA-LAND! So if the European style is to your liking, we guarantee that "SQUID" will truly enchant you!

To justify my initial assertion, let's just analyze SQUID for a moment:

A) No CGI effects, No car chases or crashes, and no 100 Decibel Explosions!

B) SQUID is highly character-driven

C) SQUID is very heavy on intense, highly focused dialog

D) SQUID's characters have almost no physical contact, but engage in relentless psychological arm-wrestling!

E) SQUID resorts to NO cinematic gimmicks of any kind, whatsoever!

F) Considering that both Jeff Daniels and Laura Linney appear in SQUID, with its miniscule budget, it cannot be anything other than a TRUE labor of love!

If the above list hits some of your cinematic hot buttons... You really MUST SEE Squid! ....8 STARS!

If you are unphased...DON'T...Simple as that!

ENJOY! / DISFRUTELA!

Any comments, questions or observations, in English o en Español, are most welcome!

Greetings again from the darkness. Writer/Director (and Wes Anderson collaborator) Noah Baumbach presents a semi-autobiographical therapy session where he unleashes the anguish and turmoil that has carried over from his childhood. The result is an amazing insight into what many people go through in a desperate attempt to try and make their family work.

The casting of Jeff Daniels forces us to view him as the grown up Flap from "Terms of Endearment". He has become a bitter, unfocused, pompous ass of a person, father, husband and professor. The inability to recapture the magic of his early writing success has caused him to look down on all other writers ... whether they be Fitzgerald or his own wife. This is Daniels' best work ever on screen and is at once, painful and a joy to behold.

Laura Linney plays his wife as a woman who loves her kids unequivocally and has a zest for life that her downbeat husband no longer shares. Her new found success as a writer sets her off on a trail of confidence and joy, all the while understanding that her family still needs her very much.

The kids really take the film to the next level. Jessie Eisenberg (brilliant in "Roger Dodger") and Owen Kline (son of Kevin Kline and Phoebe Cates) are both scene stealers as they struggle in their own distinct ways with their separated parents and their continuance through adolescence. Watching Eisenberg's worship his dad and subsequently realize the truth is just amazing stuff. Kline's outbursts on the tennis court and at the ping pong table are nothing compared to his discovery of alcohol and self-pleasure. The angst and pain these two experience is felt by millions of kids in divorce situations.

Other outstanding performances include William Baldwin (the one from "Backdraft"), Holly Feifer (as Eisenberg's first girlfriend) and Anna Paquin (underused, but still very effective). Baldwin provides some comic relief with his incessant "my brother" narrative and Feifer is extraordinary in capturing teen adoration as she lusts after Eisenberg. Thanks to her distinct similarity in looks to Linney, I laughed outloud when Daniels tells Eisenberg "she's not my type".

Listening to Daniels try to manipulate everyone he communicates with causes immense dislike among viewers, but we can't help but feel some empathy for him as he seems to believe he is doing all he can do put his family back together. His fatherly advice is not to be missed (or followed!). Watching him look for the perfect parking place is really his search for his place in a world that has deserted him.

Baumbach has created a terrific film and probably exorcised some personal demons along the way. Definitely not a film for the whole family, but it offers much insight and many messages. Also the use of the soundtrack is downright brilliant including key music from Pink Floyd and Loudon Wainright.