Written and Directed by Lorene Scafaria, The Meddler is tender in its approach to comedy-drama; light on the former and heavy on the latter as it follows the highly likeable and sympathetic Marnie Minervini, who is portrayed with considerable depth by the supremely talented Susan Sarandon. The simple, soft touch with which Scafaria handles the film – her second directorial project – smartly highlights the dynamic, talented cast above all else, tasking them with setting and maintaining the amiable tone, which is consistent despite a poignant thread simmering beneath the spirited surface.
The title of the film is but a shallow description of Sarandon’s character, the recently widowed Marnie Minervini, who, in her 60s, moves from New York to Los Angeles to be closer to her slightly evasive daughter Lori (Rose Byrne), a screenwriter who just broke up with her actor boyfriend (Jason Ritter). Marnie calls too much, texts too much, is too involved in her daughters life, and instantly fits into the common archetype of an overly protective, too-close-for-comfort mother. Yes, she’s a “meddler”, and the first few acts of the film set that up incredibly well, without overstating or falling into cliches, mostly thanks to Sarandon and the adorable obliviousness she brings to Marnie.
Byrne is well-placed opposite Sarandon, and the on-screen chemistry between the two is magnetic, even when Lori starts distancing herself from her mother, mentally and physically through her need to travel for work. Marnie redirects the need to be involved with others lives into those around her: she befriends a helpful Apple store clerk (Jerrod Carmichael) and gently encourages him to pursue further education; and she uses her sizable inheritance to fund the fantasy wedding of a young lesbian mother (Cecily Strong) who she barely knows. The audience can read between the lines here and easily see that Marnie just wants to feel like she is needed and that she is useful, because she is lonely after the death of her husband.
As mentioned above, even when the depth of Marnie’s behaviour subtly moves into view the tone remains consistent, the dialogue remains sharp, and Sarandon continues to radiate the irresistible warmth of a mother with good, honest intentions.
To add another layer you also have Marnie being courted by two men, Michael McKean’s Mark and J.K Simmons’ Zipper. Mark is barely in the picture, a stepping stone used to highlight Marnie’s complicated acceptance of romantic love, leaping to Zipper who is an equally tender, caring man who rides a Harley, plays guitar, and coaxes his chickens into laying eggs by treating them to the wonders of Dolly Parton. Simmons is such a force in this role, speaking to the actor’s incredible range which has seen him in intensely aggressive roles like Oz and Whiplash, both a far cry from this calm and reassuring presence who grounds Marnie. When 2016 comes to a close, Sarandon and Simmons may just emerge as the on-screen “sort of” couple of the year.
Having her familial and romantic love lives bouncing around while an undercurrent of grief drives her behaviour requires a great deal of nuance on Sarandon’s part, and watching the actress channel that complexity so well is a pleasure, reiterating the power of exceptional acting and a great script – which is, reportedly, a tad autobiographical.
Had it been handled and acted differently, The Meddler could have easily leaned towards the more emotionally driven, depressing narrative which shifts into the foreground every now and then, but that’s somewhat cliche with these kinds of films. It’s not quite a masterpiece, with the film dragging towards the end and closure a distant horizon, but a distinctive and dignified look at a woman trying to move past grief, a poignant mellow drama full of wonderful, heart-warming observations.
Lately, Hollywood has been very interested in intimate, character-driven muses with iconic, aging actors. Sometimes the results have been phenomenal (Michael Caine in Youth) and sometimes they have been disastrous (Robert De Niro in Dirty Grandpa). The Meddler thankfully belongs to the former category and is, if nothing else, a reminder of just how damn good an actor Susan Sarandon is.
Review Score: FOUR AND A HALF STARS (OUT OF FIVE)
The Meddler is currently screening in Australian cinemas.
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