It's not meant as a dismissal of the film, but something about Nick and Norah's Infinite Playlist reminded me of the films of (the now departed) John Hughes, Or it's as if Ferris Bueller's Day Off got with Scorsese's After Hours, and had an indie rock, hipster baby.
Two smart teenagers coming out of wrongheaded relationships are thrust together for one night in New York in search of both a lost, drunken friend and a mythical band that keeps its venues a secret. That's it and that's all you need.
The script has its bumpy moments and contrivances but it's still pretty charming, and helped immeasurably by the even more charming Kat Dennings and Michael Cera. Add a catchy, college rockish soundtrack, natch, and some genuinely funny moments, and despite the occasional wrong turn Playlist works.
Admittedly Cera's Nick is more Cameron Frye than Ferris Bueller, but there are a few other Hughes-ian elements: Nick's sweet gay bandmates sort of remind of John Cusack and buddy palling around with the trying-to-be-cool Anthony Michael Hall in Sixteen Candles (Okay, except for being gay and hip); then there's the blonde friend of Norah's who spends most of the film wasted; the forgivable plot contrivances; the older-than-their-age teenagers.
But the film also improves on Hughes' comedies tendency toward caricature for the supporting characters. Here even the antagonists -- particularly Nick's ex-girlfriend (Alexis Dziena) and Norah's wannabe-famous-pseudo-boyfriend (an atypical role for Jay Baruchel, who fares well) are well-shaded and understandable, even if not fully likable.
And would Hughes throw in a drag cabaret version of a Christmas pageant? (A hilarious moment.)
In short, if there's any Hughes legacy here it's probably more a wisp, something only in the subconscious of Rachel Cohn (who wrote the book), Lorene Scafaria (who wrote the screenplay) and director Peter Sollett (who made Raising Victor Vargas, and clearly knows New York as well as anyone).
It's not a great film, but maybe someday Gen Y-ers will be referencing back to it as much as Gen X-ers do John Hughes' films.
Two smart teenagers coming out of wrongheaded relationships are thrust together for one night in New York in search of both a lost, drunken friend and a mythical band that keeps its venues a secret. That's it and that's all you need.
The script has its bumpy moments and contrivances but it's still pretty charming, and helped immeasurably by the even more charming Kat Dennings and Michael Cera. Add a catchy, college rockish soundtrack, natch, and some genuinely funny moments, and despite the occasional wrong turn Playlist works.
Admittedly Cera's Nick is more Cameron Frye than Ferris Bueller, but there are a few other Hughes-ian elements: Nick's sweet gay bandmates sort of remind of John Cusack and buddy palling around with the trying-to-be-cool Anthony Michael Hall in Sixteen Candles (Okay, except for being gay and hip); then there's the blonde friend of Norah's who spends most of the film wasted; the forgivable plot contrivances; the older-than-their-age teenagers.
But the film also improves on Hughes' comedies tendency toward caricature for the supporting characters. Here even the antagonists -- particularly Nick's ex-girlfriend (Alexis Dziena) and Norah's wannabe-famous-pseudo-boyfriend (an atypical role for Jay Baruchel, who fares well) are well-shaded and understandable, even if not fully likable.
And would Hughes throw in a drag cabaret version of a Christmas pageant? (A hilarious moment.)
In short, if there's any Hughes legacy here it's probably more a wisp, something only in the subconscious of Rachel Cohn (who wrote the book), Lorene Scafaria (who wrote the screenplay) and director Peter Sollett (who made Raising Victor Vargas, and clearly knows New York as well as anyone).
It's not a great film, but maybe someday Gen Y-ers will be referencing back to it as much as Gen X-ers do John Hughes' films.
There IS some similarity, I grant you -- but I will take Sollett over Hughes most any day. The former doesn't push as much as the latter, and he quietly breaks new ground. It shouldn't be any surprise that this one was nominated for GLAAD award. And the wonderful way in which the female orgasm is depicted -- well, this is artful movie-making!
Posted by: James van Maanen | August 22, 2009 at 12:56 PM
Oh definitely, even if Hughes' films have a soft spot in my nostalgic heart, the two features Sollett has done are cinematically far and above. I was just enjoying wondering aloud about the thematic resemblances. In fairness, I think the film just gets better and better as it goes along, less silly and more tender, and the two of them are so great together.
And that's great about the GLAAD nom, the three guys were really superbly played and created. (As I said I loved the brief drag show scene, too.) It's well done.
Posted by: Craig P | August 22, 2009 at 01:32 PM