PUZZLE: that final puzzle piece is self-discovery

Kelly MacDonald in PUZZLE

In the self-discovery drama Puzzle, Kelly MacDonald plays a wife and mom who has subordinated all of her own needs and desires to those of her husband and two sons. Utterly selfless, she prepares every meal, performs every task, organizes every event so her husband and two sons and their church community can hum along smoothly – and without appreciation. The phrase “taken for granted” applies to every breath she takes. She receives what seems to be the most random gift, a jigsaw puzzle, and learns that she is a jigsaw puzzle savant. Suddenly, she has found herself something that she does for herself – and she is stunningly good at it.

At this point, she happens into the hitherto unknown world of jigsaw competitions (who knew?) and becomes the teammate of an unhappy divorcee (Irrfan Khan) who appreciates her and opens up new possibilities. With another experience to compares to her domestic drudgery, she realizes that she  has grown to be deeply unhappy.

The screenplay was co-written by Oren Moverman (The Messenger, Rampart, Love & Mercy, The Dinner) and Polly Mann, based on Natalia Smirnoff’s 2009 Argentine film Rompecabezas. It’s an intelligent script, filled with telling bits (she has to make her own birthday cake) and authentic interactions to portray the family dynamics. Her hubbie (David Denman) is not really mean; he’s just satisfied with the routine that they have slipped into.

There’s a wonderful scene when the mom is partway along on her road to self-realization. She suggests that the family take a major financial action. The husband says that he’ll think about it. A few days later, without circling back with her, he announces to the family that they will take this action. She is infuriated; he doesn’t understand why – after all, it was her idea. For those of you who haven’t lived this, I can assure you that this is a realistic scenario.

There’s an especially fine thread in which the mother perceives a son’s unhappiness and draws out his real aspirations.

Of course, the audience can see that the protagonist will have choices at the end.  She can stay with the husband who has finally come to appreciate her.  Or she can go off with the new guy who adores her.  What happens at the end defies the conventions of a romantic drama – it’s smart, satisfying and affirms what it is to be your own person.

Puzzle takes its time.  I suspect women will stay with its deliberate pace more willingly than will men.  That being said, it’s original and cliche-free.

THE DINNER: emotional potboiler

THE DINNER
THE DINNER

In the emotional potboiler The Dinner, Richard Gere plays Stan, a Congressman under a whole lot of pressure. His career-topping legislation is up for a vote tomorrow and he a few votes short. He’s navigating the perils of the 24-hour news cycle as he runs for Governor. And a scandal from his own family is threatening to erupt. It doesn’t look like he’s going to get much help from Kate (Rebecca Hall), his self-described trophy wife, who is very tightly wound.

Stan’s brother Paul (Steve Coogan) knows about pressure because his wife’s Claire cancer episode crushed him into a mental breakdown. He’s out of the asylum, but he’s still a basket case, clinging to a modest level of functionality. Claire (Laura Linney) is now able to run the family, and she’s a rock.

Now the four of them meet at an exclusive and trendy restaurant to discuss how to handle a family crisis. Paul can’t get over his resentment and jealousy of Stan. To describe the plot of the The Dinner as a family meal is like calling The Revenant the story of a hike in the woods. Accustomed to making deals in politics, Stan has to work things out with two hyper-protective mother bears and a volatile and hostile loony. Is Kate really shallow and brittle? She may surprise us as one tough tough-as-nails negotiator. And what is Claire really capable of to protect her child? The pressure builds and builds, all the way up to a shattering and ambiguous ending.

Coogan sheds his usual smugness and delivers a stunning portrait of mental illness. His Paul has the all-time movie meltdown in a high school classroom, and another amazing monologue given to an empty classroom. He has pathetically grasping conversations with a son who now only patronizes him. Coogan’s searing performance is reason enough to see The Dinner.

The Dinner is also a showcase for Linney, Gere and Hall. Adepero Oduye (12 Years a Slave, The Big Short) is excellent (and realistic) as Gere’s never-off-duty chief of staff. Chloe Sevigny nails a character who has the knack of saying exactly the wrong thing to defuse an awkward situation.  The always interesting Michael Chernus provides chuckles as the restaurant’s ringmaster, who presents one pretentious course after another. The restaurant’s locally sourced and extravagantly presented food does look and sound delicious, even if each dish is so overly precious.

The Dinner explores a very thorny philosophical question: what is the parental responsibility to help a child who has done something unforgivable?  Is it better to let him face harsh consequences, even if it will ruin much of his life? Or is it better to help him avoid those consequences so he can get a second chance at a normal life?

I went to see The Dinner because it was directed by (and its screenplay adapted by) Oren Moverman, and I very much admired Moverman’s The Messenger and Rampart. He has a gift for getting great performances from his cast and for portraying the moments in life that are the most emotionally explosive.