[LISTEN UP PHILIP
screens Thursday January 15th at 8:45 pm and Friday January 16th at
7:15 pm at the Cleveland Cinematheque.]
Review
by Bob Ignizio
LISTEN UP, PHILIP is
yet another New York-set indie film about life and love among the
creative class. It's protagonist Philip (Jason Schwarzman) is an angry, self-absorbed
writer so obnoxious that you'd be looking for an exit within five
minutes of meeting him. This movie asks us to spend almost two hours
with the guy.
Although
considered of some import in the literary world, Philip is far from
financially secure. And yet, even as his second book is about to be
released, he refuses to do any press for it. Fortunately his
photographer girlfriend Ashley (Elizabeth Moss) is doing well enough
to support both of them. Nonetheless, Philip takes Ashley for granted
and puts his own needs ahead of her career. As a result, her feelings
for Philip have slowly but surely been cooling.
The
last straw is when Philip decides to spend the summer hanging out
with an older writer he looks up to, Ike (Jonathan Pryce). Completely
cut off from all his family and friends except for his daughter
Melanie (Krysten Ritter), Ike is essentially what Philip will become
if he stays on his present course.
In
the film's one tolerable section, we see Ashley moving on with her
life in Philip's absence. When Philip returns to what he believes is
still his hiome, she tells him in no uncertain terms that they're
through, but it doesn't quite seem to register. Even later, when
Philip takes a job teaching creative writing at a college and enters
into a relationship with another teacher, Yvette (Joséphine de La
Baume), he still hangs on to the belief that Ashley will be waiting
for him in New York.
There
is no real character arc for Philip. At one point, the film's
narrator (Eric Bogosian) tells us that Philip's relationship with
Yvette makes him more tolerable, and that this leads to him finding
friends among the college faculty. The thing is, we never actually
see this, and whatever transformation takes place is apparently short
lived. As far as we the audience are concerned, Philip is an
insufferable prick from start to finish.
Our
only respite from Philip's unpleasantness comes when the film spends
a little time showing us how Ashley gets on in his absence. Not only
is she at least somewhat likeable, she's also the only character in
the film who grows and changes. Despite getting equal space on the
film's poster, though, Ashley is by no means given equal screen time,
and her time in the spotlight is over all too soon.
One
can understand why an actor like Schwartzman might relish the chance
to play such an irredeemable character, and he certainly does it
well. There's also no reason why a film about a misanthropic
narcissist can't be enjoyable: THERE WILL BE BLOOD
is one of my favorite films. As horrible a human being as Daniel Day
Lewis' Daniel Plainview is in that film, though, there is always some
shred of humanity to allow the viewer to empathize with him, and more
than enough of interest in his journey towards self destruction to
make it worth enduring his company for the duration. That simply
isn't the case here.
PHILIP
also violates one of the cardinal rules of storytelling in that it
constantly tells rather than shows, using Bogosian's narration to
advance the plot instead of what we actually see on screen. The
grainy, overexposed, and often intentionally out of focus
cinematography also grates. Both choices come across as indie
affectations that do little to actually serve the material. Even when
there are some minor chuckles to be derived from the its dark and
deadpan depiction of insufferable artist types, the film is so
insufferably arty itself that it's hard to justify slogging through
for such meager rewards. 2 out of 4 stars.
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