The Meyerowitz Stories (New and Selected)

THE MEYEROWITZ STORIES (NEW AND SELECTED) (Noah Baumbach, 2017)

To friends, acquaintances, and strangers, the life of sculptor and retired professor Harold Meyerowitz (Dustin Hoffman) looks like a success, but the man himself nurtures jealousy of his peers’ wider acclaim and animosity toward an art world that has failed to appreciate him sufficiently. He sold a work to the Whitney decades ago, yet it’s indicative of his status that no one is exactly sure where it is being stored. In THE MEYEROWITZ STORIES (NEW AND SELECTED), Harold’s self-centeredness has contributed to the strained relationship he has with the three children his four marriages have produced.

Danny (Adam Sandler) and Jean (Elizabeth Marvel), the two oldest, share a mother and the sense that they were never especially important to their father. Such treatment fuels Danny to be a doting dad with his daughter Eliza (Grace Van Patten). While Matthew (Ben Stiller) is perceived, not incorrectly, to be the favored child, he carries his share of grudges regarding Harold. Despite their frustrations, all three still seek approval from him. Danny and Jean strive to secure a retrospective show of Harold’s work. Although Danny objects, Matthew tries to arrange the sale of the big, costly New York City house where Harold and his current wife Maureen (Emma Thompson) reside.

The episodic nature and title of THE MEYEROWITZ STORIES (NEW AND SELECTED) suggest that the glimpses of this dysfunctional family don’t tell everything but encapsulate the fundamental truths about them and viewpoints within this unit. Writer-director Noah Baumbach’s film depicts a period of critical transition. Danny has separated from his wife and needs direction. Eliza is starting college. Matthew is at a crossroads in his marriage and career. Harold is trying to adjust to retirement. Although the chapter-like structure leaves gaps, it contains the greatest hits and misses in Meyerowitz family history. Life brings new developments, but these events all tend to circle back to be understood through the lens of old resentments. The stories each person tells himself and herself have as much to do with constructing their identities as what actually happens.

Baumbach’s comedies about families often have a strong undercurrent of anger. MARGOT AT THE WEDDING, THE SQUID AND THE WHALE, and WHILE WE’RE YOUNG, among others, laugh at the ways people can get maligned and twisted in their most central relationships, but the humor provides a thin cover for bitterness. The characters in THE MEYEROWITZ STORIES exist in the state of a soft boil. Their emotions are adequately hot without making them hard. Baumbach crafts a warm, humane movie accepting of people in spite of their faults. The Meyerowitzes aren’t going to resolve all of their differences in the course of the film or beyond it, but Baumbach shows why blood ties and shared history can be worth saving in spite of the aggravations.

THE MEYEROWITZ STORIES cast is superb at conveying the commonly understood order and unspoken, or whispered, opinions in families. Baumbach excels at capturing the dynamic in which each person assumes the role they’ve adopted through the years whether or not they’ve changed outside the family. He’s also really sharp and funny in observing how parents and siblings don’t fully understand what the adult kids do in their jobs and how watching TV together can be as meaningful as anything in maintaining the peace.

Sandler has proven to be a good actor when working with directors who can modulate his tendencies. Here he’s quite affecting playing a loving father who transforms into an ignored little boy desperate for validation when around his dad. His tender scenes with Van Patten reveal Danny at his best. His goodness is visible in how he’s attentive in a way that Harold wasn’t and isn’t and also in how she protects him when she knows he’s vulnerable. The ease and honesty they have with one another contrasts powerfully with how Harold and Danny communicate. Hoffman is funny and tragic as a wrecking ball of a patriarch, one whose narrow vision fails to acknowledge that in chasing acceptance from the world at large he’s missed the love those closest to him are so eager to give. A life has many potential narratives, but it’s the one we select, rather than what is written for us, that determines if we are satisfied.

Grade: A

Mr. Magorium's Wonder Emporium

MR. MAGORIUM'S WONDER EMPORIUM (Zach Helm, 2007)

243-year-old toy store owner Mr. Magorium (Dustin Hoffman) announces that the time has come for him to leave this earthly existence and turn over the business to his protégé Molly Mahoney (Natalie Portman). Naturally, the news of his departure is met with less enthusiasm than the eccentric proprietor anticipated.

Molly has been happy to manage the store as a diversion from struggling to find herself as a composer, but she doesn't feel ready to assume control of the shop. Eric Applebaum (Zach Mills), a friendless boy who spends his free time at the emporium, can't imagine the place without him. Even the building and toys go into a funk over the thought of Mr. Magorium leaving. The only one untroubled by the development is Henry Weston (Jason Bateman), a decidely unplayful accountant summoned to determine the worth of the soon-to-be bequeathed business.

MR. MAGORIUM'S WONDER EMPORIUM jumps headfirst into the tale with the full-blown whimsy its title suggests. Unfortunately writer-director Zach Helm mistakes busyness and unfettered zaniness for the breezy and magical tone he wants to establish, obliterating it from the screen in the process. The aggressive pitching of unbridled joy seems forced, as if everyone is trying too hard.

Broken into storybook-like chapters and narrated by Eric, the film implies that it possesses literary roots; however, MR. MAGORIUM'S WONDER EMPORIUM comes across as a quickie knockoff attempting to capitalize on a more popular title's success. Roald Dahl's influence is undeniable, especially in the Wonka-esque title character. Helm hasn't stolen ideas but mimicked them, and not in a terribly convincing voice. He's borrowed materials from classic kid lit--no harm in that--but not the spark that brings them to life.

The film even begins as though there are a few books (or cinematic prequels) that precede this particular story. This narrative technique makes for a jagged start and, more critically, undermines the importance of Mr. Magorium's going. Without sufficient time to cotton to the character, his planned exit fails to affect the audience just introduced to him.

For all of its shortcomings--and there are many--it's nice to see a G-rated movie determined to approach young viewers with respect and aspire to cover deep subjects while entertaining. (MR. MAGORIUM'S message is about fulfilling one's purpose in life and how in doing so death is not sorrowful. Heavy stuff, to be sure.) Hopefully next time Helm will make a film more worthy of his ambitions.

Grade: D+