By: debbie lynn elias
A follow-up by Julie Delpy to her 2007 film, 2 Days in Paris, 2 DAYS IN NEW YORK is a slice of life with which many can relate. A tale of non-English speaking French family members visiting the daughter/sibling firmly ensconced in New York in an inter-racial relationship with first marriage children and a hectic lifestyle, bring three thoughts to mind on film’s end – (1) ambivalence, (2) Delpy should focus her efforts on directing, and (3) Chris Rock is a master of comedy.
A sort of familial situation with which many of you, as well as myself, are intimately familiar, language barriers are fodder for communication misinterpretations and comedic situations with disasters resulting from the cultural and language issues. And while Delpy is more than adept at capturing this on screen, she not only tries to cram in every possible foible and scenario that can happen into a two day time span (and probably has happened in her own life) with family and undesirable neighbors, but then takes the freneticism of her own character of Marion to such a level that it becomes exhausting and boring to watch her. This is a situation where she needs to dial it down a few notches.
But, then there’s Chris Rock who, as Marion’s partner, Mingus, not only grounds the film with common sense, reality and morals, but he carries the film. Rock is funny, a good parent, a good partner, a great “in law” – but he never becomes wimpy or kiss-ass. He has a backbone and when enough is enough, he brings it to the character. I would have liked to have seen more interplay between he and Albert Delpy (Julie’s real-life father) as their relationship is so much closer to truth and fact in what happens with visiting non-English speaking foreigners and from that core truth comes the funniest stuff in the film. As to be expected, Rock’s comedic tone is very organic and free-flowing and a joy to watch.
Albert Delpy is an absolute gem. While he looks like Santa Claus, his smile is so warm and genuine and his performance so “real” that he is beyond endearing. Paired in several scenes with Rock, the two provide some electrifyingly funny laugh-out-loud moments, something I would have liked to see more of.
Stepping in as Marion’s sister is Alexia Landeau who, as Rose, is a slutty annoyance, taking sexual innuendo too far, given that her English is more than sufficient so there’s no such thing as misinterpretation of meaning. And while one or two sexy sly attempts at male seduction is funny, to perpetuate it, makes the instances lose their luster. Dead on arrival is a repetitive attempt by Rose at humor with the rhyming of Mingus-cunnilingus that seems endless and never even strikes a smile let alone a laugh. However, Landeau’s performance serves an important storytelling purpose by promulgating angst for Delpy’s Marion, particularly when it comes to Rose’s boyfriend Manu.
Manu is a character that serves to provide a window for scenarios on parenting and morality and Alexandre Nahon beautifully pushes the envelope of familial tolerance. With thematic elements of drug use, bringing drugs into the home, foul mouth, sexual misconduct (along with Landeau’s Rose), Nahon makes Manu the perfect foil for the upstanding parent in Rock’s Mingus. Nahon’s performance lays the groundwork for showing us a side of Rock we don’t normally get to see. And it’s wonderful.
As is becoming a trend of late, look to the kids for some real gems of performance and here is no different thanks to Talen Ruth Riley. As Mingus’ daughter Willow she just charms!
Written and directed by Julie Delpy and Alexia Landeau, the premise and concept is a delight. The humor is built in to the natural disasters that happen in a situation like this giving the writers wide latitude for creativity and comedy, but where Delpy falls short is by trying to cram everything possible that Murphy’s Law may cover into this 96 minutes. This is a case of where “less is more” to achieve the desired result. Further, she needs to temper her own acting performance. However, as a director, her tonal bandwidth is superbly executed, consistent, effective. Julie Brenta’s production design is smart, saturated with vibrancy of color within the home, opening up to natural and sunlight with exteriors. She keeps the visual tone emotionally upbeat and happy which is what family visits are “supposed” to be. Similarly, the hallway and elevator are putrid pale green grey tones; stark and unwelcoming – just like the neighbors. Editing has a few uneven edges but for the most part not only keeps pace with Marion’s frenetic demeanor, but actually promulgates it with certain sequences being rapid-fire angular cuts blending cinematography and editing that really sell the madness of the situation. Delpy has a wonderful conceptual eye.
Beyond commendable is the costuming of Delpy herself as she allows herself to look haggard and not put together; not to mention having the courage to wear a hausfrau red & green Christmas house dress. . .at Halloween.
But again, the real stars here are Chris Rock and Delpy’s visual sense of style and storytelling.
Marion – Julie Delpy
Mingus – Chris Rock
Alexia Landeau – Rose
Alexandre Nahon – Manu
Albert Delpy – Jeannot
Directed by Julie Delpy. Written by Delpy and Alexia Landeau.
