THE DAYTRIPPERS
1/2
WenQing
Written and Directed by : Greg Mottola
Main Cast: Hope Davis (Eliza D'Amico), Pat MacNamara (Jim Malone), Anne Meara (Rita Malone), Parker Posey (Jo Malone), Liev Schreiber (Carl)
Produced by : Cinepix Films
Length : 87 minutes
Rating : ***1/2 out of *****
Theatres : Golden Village/Cathay Theatres
Running through 200 metres of rainy weather is not a bright start to a movie... one thing that often trips you up is the foul mood that is swimming in the fact that you're totally drenched.
That's why THE DAYTRIPPERS was such a refreshing surprise and a delight to watch. Unpretentious and hilarious, it traces the day-long trip of a family (dad, mom, two sisters, and one sister's boyfriend) in the squeeze of a station wagon from Long Island to Manhattan. THE DAYTRIPPERS could've been a conventional road movie -- its premise lies in the the name of the film, but first-time director Greg Mottola adds a low-key and poignant twist to the convention.
THE DAYTRIPPERS is not your run-of-the-mill fast-driving, wild, and consistent howling-mad-wind-in-your-face-and-hair road movie (like FANDANGO or THELMA AND LOUISE), in fact Eliza's father Jim drives so slowly he can't even beat a red light. THE DAYTRIPP ERS is about a search for solutions to some familial problems, and the root of these being a post-modern existence and its mediocrity.
One morning, Eliza D'Amico finds a letter addressed to her husband Louis (played by Stanley Tucci from TV's "Murder One", who by is, by the end of this movie, looking decidedly unhip -- must not tell you why)... it's a letter with some loving lines from Andrew Marvell's "The Definition of Love" and signed off "love, Sandy." Frightened and worried -- Eliza is just a fourth grade school teacher, and Louis a member of a large publishing firm in NYC -- she feels entirely out of depth. She drives to her paren ts' place and her mother Rita (who gradually grows more irritating and domineering... and funnier) has everyone pack themselves into the station wagon and drive to find Louis and confront him about this mysterious Sandy.
In Manhattan, they meet a whole host of eccentric and unique people, with quirks and problems... and of course, they find out more and more juicy and puzzling details about Louis' involvement with Sandy.
I shouldn't tell you everything, that would be spoiling the fun... but their encounters are all strange and hilarious... with ridiculous grouses and weird habits and histories. Mottola (don't forget he wrote the script too!) manages to string all these ex periences together with pretty strong and efficient editing, never dwelling excessively on one encounter (except for the one where Rita faints- having chased a taxi with Louis and an unidentified woman in it after Jim has stopped at a red light- but it's forgivable all the same because it is treated with aplomb and spontaneity). The movie climaxes with the several pitched arguments between Jo and Carl, then Jo and Rita, then Rita and Eliza with two cents worth from Jim, and finally between Eliza and Louis .
Though much has been said about Hope Davis' excellent performance as Eliza, it is clear after the whole film that the main cast of characters is plain amazing, injecting strength and warmth into their roles and giving themselves a poignant humanity which makes this family affair in this road movie all the more relevant.
I rather enjoyed the pseudo-intellectual intensity of Liev Schreiber's character, Carl. He is a poseur, with views that are clearly mixed-up misconceptions. He says Andrew Marvell is the predecessor of Shakespeare (can't trust him now can we?) and then i n one breath says that he is writing a novel : "an allegory (read pretension!) about spiritual survival in the contemporary world... it's about a man who's born with the head of a dog", like "Animal Farm" since it is "Kafka-esque". In the midst of name-dr opping, we realise that his taking himself and his views so seriously is a sign of his insecurity. It is an insecurity that is borne out of what he unwittingly declares is the great evil and terrible fate of the middle class : mediocrity. While he goes on to stumble over concluding that the aristocracy should replace American democracy, his observation about mediocrity gains a foothold in our minds all the same. He may generally be a fool, but some little pockets of insight that he offers are invaluable.
Thus, the escape from mediocrity becomes a central theme of THE DAYTRIPPERS. The day-trip itself is to run from boring and mundane Long Island life. Eliza's being contextualised in her teaching job and feeling out of her depth is part of the pervasive me diocrity. Rita's overprotective and overbearing nature is an attempt to combat a meaningless existence in middle-class America... in the middle of nowhere and heading nowhere as well. Although this critical look at life is heavy-going and almost depressin g, Mottola treats it with such comedy that it becomes a truth that is acceptable and understandable, and for us the fortunate audience, escapable.
Extremely enjoyable and well-paced, THE DAYTRIPPERS is entertaining and meaningful. If you're in the mood for an indie film that is competent, funny and unconventional, this is a must-see. It's sublime, quirky and hilarious. Shot over 16 days (as quick a s a Hong Kong film!) and on a shoestring budget of $500,000, THE DAYTRIPPERS both criticises life and affirms it. It shows that escapism need not become an obsession or a trap of insecurity- this we see in the final scene of Jo and Eliza "tripping" into t he night- knowing how they have been contextualised and choosing a new way to fight mediocrity. The open-ended irresolute conclusion is a resolution in itself... a symbol of precious escapism which must not be corrupted else it will consume us.
The Flying Inkpot Rating System:
* Wait for the TV2 broadcast.
** A little creaky, but still better than staying at home with Gotcha!
*** Pretty good, bring a friend.
**** Amazing, potent stuff.
***** Perfection. See it twice.
Wen-Qing would like to wake up one morning knowing that he can cook for himself.
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Readers' Comments
From: Glenn Barton (gbarton@aros.net)
In addition to Greg Mottola's snappy dialogue, I particularly noticed the way his direction captured Eliza's (Hope Davis) confusion and melancholy, particularly in the scenes filmed in the car. He contrasts her emotion with the self-centeredness of the other characters, particularly Carl.
