Marie Antoinette (2006)

As I type this, Chris Evans is being “cancelled” on Twitter. I did a little research on this since I always thought Chris Evans was well-received. It turns out the backlash is because of a white savior movie he made called Red Sea Diving Resort. According to Wikipedia, this film “is a 2019 spy thriller film written and directed by Gideon Raff. The film stars Chris Evans as an Israeli Mossad agent who runs a covert operation that helps Ethiopian-Jewish refugees escape to safe haven in Israel.” The description goes on to say the film is based on historical events, and politically divisive.

This is important, but not new. Because of the current state of the world, politics are unavoidable more than ever, and movies are no exception. Movies that are set in real historical or political scenes are scrutinized to be historically accurate, or at the very least, not rewritten to make sure the good guys are White and…guys. I became curious about what information is being presented to audiences about about politics and politicians. I am distinguishing between political movies and movies about politics. One might argue that all movies have some political agenda, but I wanted to research the movies about political figures. While, as of the latest elections, there were steps made toward a more diverse group of civic leaders, but that is not always represented on the big screen. It might be hard for voters to support any possible politician that is not White and/or male because of the representation of politicians in their media consumption.

Though well-photographed, writer-director Sofia Coppola’s latest film On the Rocks carries itself disjointedly. Rashida Jones’ leading performance as Laura is skillful and controlled as a hard-working sexless mother of two who suspects her husband Dean (Marlon Wayans) of infidelity. Laura drops the kids off from school, works at home, and then picks up the kids from school. She makes dinner, she cleans up, and she puts the kids to sleep, while her husband Dean is allowed the time and space to advance in his career and go on business trips. This story feels cliché, but realistic, and Rashida Jones performs expertly in her character’s uncertainty, depression, and lost sense of self.

Laura, Dean, and their two kids are a liberal family of color who support Stacey Abrams and Bernie Sanders (as evidenced by the stickers on their apartment door), and it is good to see such character traits be addressed not through shoe-horned dialogue or unnecessary exposition, but by set-dressing. This approach to character building feels organic and gets such information across without sacrificing runtime. Sofia Coppola has always been smart about this in her character-inspired art direction (in 2006’s Marie Antoinette an audience member could read more about its leading lady from the set décor of candy, cupcakes, and pink, frilly garments thrown about her estate, than from the dialogue).

The film introduces Bill Murray’s character Felix, who is Laura’s father. Bill Murray is a genuine delight, though Felix’s main trait is that he is just so relentlessly charming that he can talk himself out of a speeding ticket, which is something that could definitely only happen to this one white character. As Felix and Laura reconnect and hop from one expensive restaurant to another in Felix’s vintage car (when he isn’t being driven around by his chauffer), the film eventually feels like a prolonged Comedians in Cars Getting Coffee episode. Some lovely, tender magic really does take place in these scenes between Felix and Laura. The father-daughter dynamic is the heart and soul of the piece, but the screenplay keeps insisting on asking bigger questions like, “Can men be monogamous?” without any follow-up.