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★★½☆☆
2 August 2019
A movie review of AFTER THE WEDDING. |
“It turns out there are no nice bankers,” Theresa (Julianne Moore)
Remakes are pointless, unless their predecessor(s) can be improved upon. Even with the gender reversal, and the accomplished lead duo, AFTER THE WEDDING [2019] is an unnecessary version of Susanne Bier's best film from 2006. This take never feels like it hits the heightened, adroit melodrama of the original. When Susanne Bier’s projects are at their best, they transcend cheap drama and shine a light on shame and vulnerability. Director Bart Freundlich’s iteration does not emulate.
Remakes are pointless, unless their predecessor(s) can be improved upon. Even with the gender reversal, and the accomplished lead duo, AFTER THE WEDDING [2019] is an unnecessary version of Susanne Bier's best film from 2006. This take never feels like it hits the heightened, adroit melodrama of the original. When Susanne Bier’s projects are at their best, they transcend cheap drama and shine a light on shame and vulnerability. Director Bart Freundlich’s iteration does not emulate.
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The narrative reveals of the original mean a redo will have to pull something special out of the bag to top the conceit. There is little ambition here. No attempts on building. Those familiar with the original will have little artistic/entertainment nourishment to sate any movie hunger pangs. Actors Julianne Moore and Michelle Williams are not impervious to duds. See BEL CANTO (2018) and VENOM (2018) respectively.
AFTER THE WEDDING opens on a beautiful aerial shot homing in on a Kolkata orphanage. The organisation also helps the wider community. Run by Isabel (Michelle Williams), it is struggling for money. A miraculous, too-good-to-be-true lifeline comes from New York. Millionaire entrepreneur Theresa is considering a $2 million donation. Why is an American running an Indian orphanage? Why is one of the Big Apple’s business elites waving a chequebook? All will be revealed, though not with particular skill. Enjoyment will depend on prior knowledge. (While nominated for the foreign language Oscar, the original is still probably and unfortunately a niche watch.)
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Isabel is reserved and pensive. Theresa is selling her successful media placement company. They ostensibly could not be more different. The audience is meant to wonder what is driving their decisions. Much to Isabel’s chagrin, Theresa holds off the decision as to the $2 million until after the weekend. Isabel is invited to the wedding of Theresa ‘s daughter, Grace (Abby Quinn). Isabel and the audience are meant to guess if a game is being played. Is Theresa benevolent or malevolent?
There are a few clangers. Dinner speeches are watch-through-your-fingers awkward, which do not seem intentional. When Isabel tastes orange soda for the first time, groan! AFTER THE WEDDING rarely transcends soap opera declarations. Watching families come apart here has the whiff of emotional exploitation porn. The redemption feels twee.
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