Film

'Away' is a Wonderful, Wonky Road Trip


Away We Go

Director: Sam Mendes
Cast: John Krasinksi, Maya Rudolph, Catherine O'Hara, Jeff Daniels, Allison Janney, Maggie Gyllenhaal
Rated: R
Studio: Focus Features
Year: 2009
US date: 2009-06-12 (General release)
UK date: 2009-09-18 (General release)
Website
Trailer

Up until this point, they had avoided responsibility. They lived like nomads, sequestered from family and friends while indulging in their own insular (and happy) homebound careers. But biology - like money, and power, and the possibility of same - changes everything, and for unmarried couple Burt Farlander (John Krasinski) and Verona De Tessant (Maya Rudolph), the lack of a legitimate home for their newborn child brings about the need for change. But with only the slightest connection to the rest of the real world, such a massive personal modification will require a point by point breakdown of the possibilities. Thus begins a road trip which takes the couple back home (to his parents) to Arizona (her friends and family), Wisconsin, Montreal and Miami - and in the process, our expectant parents learn that home is not necessarily where the heart is. It's actually where true happiness dwells.

For Sam Mendes, such cinematic ground seems strikingly similar to the territory he traversed with such suburban nightmare masterworks as American Beauty and Revolutionary Road. This time around, however, instead of equating ennui and malaise with an upcoming interpersonal Armageddon, the English filmmaker finally finds a funny bone. Scripted by A Heartbreaking Work of Staggering Genius scribe Dave Eggers (along with wife Vendela Vida) Away We Go first appears to be a collection of Americana clichés. But then it actually evolves into a telling statement on growing up, taking charge, and realizing that life cannot be a constant struggle to continuously stray off the beaten path. Sure, the examples that Mendes and his collaborators use seem arch in their stereotypical approaches. But with each chestnut comes a rejection, and a realization.

The trip begins at the Farlander house, where SCTV's Catherine O'Hara and Jeff Daniels give middle age wistfulness a wacky, uneven coating. One moment they are celebrating their son's upcoming parentage. The next they are abandoning him for a long planned pilgrimage to Europe. To the Farlanders, two years seems like nothing. But to new mom to be Verona, it's like a declaration of grandparental abandonment. Things don't get better in Phoenix, where ex-coworker Allison Janney puts on one of the worst displays of post-modern maternal cool ever conceived. In both of these sequences, Mendes relies on a kind of Caucasian white face, a blanket denouncement of white man's culture combined with obvious sitcom types. But by making Burt and Verona disgusted by such outbursts, by giving them the silent critical eye the material mandates, the movie manages to override the Galleria burlesque.

Things change radically once we get to Wisconsin. Maggie Gyllenhaal practically steals the film as LN ("Ellen"), a New Age joke who buys into every organic composting conspiracy theory in the realm of ridiculous hands-off guardianship. Along with her semi-conscious partner Roderick (underplayed brilliantly by Josh Hamilton), they provide Burt and Verona with the chutzpah to finally stand up for themselves. Up until this point, our leads were likely to sit back dumbfounded, politely nodding as one ridiculous idea after another is fostered toward their future. But the minute LN starts her frazzled family bed routine, a light bulb goes off in our heroes' heads. This is the where their formerly unfriendly and close realm mindset will lead them - into a similarly styled space filled with made-up philosophies and arguably insane pronouncements. And their dinner table reaction to all the hedonistic nonsense is one of Away We Go's greatest comeuppances.

At this point, Mendes can no longer avoid the melancholy. Montreal sees the couple facing mortality - both their own and the still unborn child's - with uneasy trepidation, and an emergency mission to Miami underlines the fragility of their common law relationship. It's interesting that Away We Go champions such unconventional 'marriages', offering Burt and Verona as the far more spiritual and centered pair in a whirlwind of crude and incomplete couples. It's the same with almost every aspect of the film. As Mendes mocks child rearing and prenatal psychobabble, he gives us a duo that seem so present, so completely in tune with each other and their situation, that we hope none of this nascent negativity sticks. By the time they realize that they simply have to take that necessary leap of faith (during a conversation on a trampoline, no less), we wonder where the jump will take them.

In the end, it's not very surprising where they land. What's really amazing is how moving the revelation becomes. For all its jokey upscale jive, the occasional smug self-satisfaction Burt and Verona use to calm their frazzling nerves, Away We Go provides the kind of closure that elevates our ongoing worries. They may not have it all figured out, and there are moments when even their soothing tone of optimism seems blind and unbelievable, but the bottom line remains - these are two people who realized they were wrong and then tried to do the right thing. They took on the list of social requirements for happy families and found the flaws in each and every one. Luckily, Mendes has an amazing cast to collect his thoughts. Krasinski's Burt is beautiful in his deadpan directness. He doesn't mince words so much as carefully pick the ones he know will do the most damage. Rudolph elevates her status as a legitimate movie star, looking both stunning and scared as the portal from which all the promise - and problems - commence.

Yet the final shot is something worth celebrating, a moment of perfect peace after 90 minutes of pinball emotions and crisis-like upheavals. As Burt and Verona sit, their arms interlaced, they appear to finally realize that they can have it all - social acceptance and isolated exclusivity. They don't need to be unhappy married making fun of their own offspring, or miserable martyrs to some unspoken sense of personal diversity. They can be themselves while still seeing the best that the real world has to offer. They are smart enough to accept the good and conscious enough to reject the bad. It may be tough to tell if their arriving daughter will recognize the lengths they have gone to in securing her future. Luckily, they've done the leg work for her - and the journey is well worth taking.

8

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

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If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star Salim Shaheen, it is equally an important communication on Afghanistan, it's culture and its people.

"Now I am just more tired and poor. So no, I haven't changed. I'm just older and more tired," says French radio journalist and documentarian Sonia Kronlund, as she looks back on the experience of making The Prince of Nothingwood (2017).

Joining Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan on his 111th no budget feature, Kronlund documents the week-long shoot and the events surrounding it. She crafts an insight into a larger than life persona, yet amidst the comedy and theatricality of Shaheen and his troupe of collaborators, she uncovers the heavier tones of the everyday reality of war and patriarchal oppression. If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star, it is equally an important communication on Afghanistan, it's culture and its people. Alongside the awareness of the country cultivated by mainstream media news outlets, Kronlund's film offers an insight into a country that can humanise the prejudice and xenophobic tendencies of a western perspective towards Afghanistan.

In October of this year at the UK premiere at the BFI London Film Festival, Kronlund spoke with PopMatters about being driven by questions rather than inspiration. She also reflected on the subjective nature of documentary filmmaking, the necessary artistic compromises of filming in Afghanistan, and feeling a satisfaction with imperfections.

Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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