Lucas
Versantvoort / 11 Dec 2015
I can't be the
only one who was baffled by this film's trailer: a relationship drama? With
Brangelina? Written and directed by Jolie? I just didn't see it working,
especially since I've heard conflicting things about her capabilities as a
writer/director. By the Sea, while not an outright bad film, suffers from poor
story design, rendering the central dramatic twist--and therefore my reason for
caring--emotionally inert.
Roland (Brad
Pitt) and Vanessa (Jolie) have been married for 14 years and, for an as of yet
unknown reason, have decided to travel the countryside in France. They stop and
stay at a coastal hotel. They meet some of the locals, including their recently
married neighbors. But all's not well: Roland and Vanessa have drifted apart
due to some tragic event and will have to find out whether their relationship
can endure.
If the film does
something right, it's creating a convincing atmosphere. Jolie opts for a slow
pace that allows you, like Roland and Vanessa, to wallow in this little town's
dreamy quality and the feeling of being divorced from reality.
The film's
central problem, however, is that it's predictable. A vocal, synth-pop
orchestral version of Chopin's prelude op.28 no. 4 is tracked over the opening
credits. The music was used during Chopin's funeral; that and the music's
melancholy quality already told me plenty about what's been plaguing this
couple for years on end. This feeling was strengthened by all the things that
reminded me of Who's Afraid of Virginia Woolf with Burton and Taylor. If you've
seen that film, you've seen this one.
The problem is
that the film treats the dramatic event that shaped Roland and Vanessa's
marriage as a mystery. But it's not especially hard to figure out, with all the
similarities to Virginia Woolf, so when the big reveal comes, it doesn't feel
like the culmination to an emotional journey. Worse, by scripting the film's
central issue as a mystery, the script treats Vanessa like a mystery too which
undermines our chances to empathize with her troubles, rendering the climactic
scene emotionally inert.
Even stranger
is how passive Vanessa is in this regard. Roland practically forces her to face
her fears and say what really troubles her (though I don't mean to make Roland
look like an abusive husband). He's figured it out already, but needs her to
say it too. I can't imagine that basically putting words into someone's mouth
is the best way to 'let the healing begin'. I thought that someone has to
figure it out 'on their own' with the subtle guidance of the expert. So, not
only does the climax lack emotional punch, but it doesn't even feel like she
had a say in reaching this enlightenment.
By the Sea
isn't the trainwreck I might be making it out to be. The Pitt-Jolie interplay
does occasionally yield its own rewards, although I'm not sure whether their
playing the leads is simply due to their chemistry or that this is supposed to
be their Burton/Taylor-moment. In the end though, it's the film's predictable,
Virginia Woolf-esque nature that makes it hard to stay invested in the trials
and tribulations of this particular couple.
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