> REVIEW
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Jack Goes Boating (2011)
Sink or swim…
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By Carol Vine | November 2011
DIRECTOR: Philip Seymour Hoffman
WRITER(s): Robert Glaudini
Philip Seymour Hoffman is as compelling as ever in his directorial debut, Jack Goes Boating. But for all its bittersweet tenderness and subtly crafted mood, it is too one note to be truly affecting, and ultimately serves as a beautiful exercise in fine acting.
The plot sees Jack (Hoffman), a shy and socially awkward limousine driver with a tiny social network in the big city, encouraged to go on a blind date by his best friend and work colleague, Clyde (John Ortiz). Jack and the equally timid Connie (Amy Ryan) quietly hit it off and as they begin a cautious, gentle relationship, Clyde’s own relationship with his wife Lucy (Daphne Rubin-Vega) slips into decline because of wounds of betrayal that will not heal.
It’s refreshingly non-commercial and the delicate portrayal of imperfect lives doesn’t conform to or tick off many factors of the cinematic “win-list” that Hollywood usually requires. But though it’s reassuring and even inspiring that the film made it to the screen, it fails to satisfy or even convince. Adapted from Bob Glaudini’s 2007 stage play, unfortunately the script remains too theatrical and awkward in its transition to film. Though Hoffman’s attentive detail to character is a beautiful testament to “ordinary lives”, the pacing is stodgy and the protagonists’ journeys unconvincing as they’re unfounded with depth of back-story.
Jack and Clyde’s friendship is the most charming aspect of the film. Here is an affectionate portrayal that is unusual, and sometimes disarming in its tenderness and simplicity – no macho awkwardness or competitive agenda, just unashamed honesty.
Jack’s learning to swim with the committed Clyde (in order to be able to take Connie boating when summer comes) presents us with some lovely scenes, perhaps some of the most effective of the entire film as Clyde’s patient enthusiasm resonates with loving simplicity. But the whole thread nonetheless seems a device – an easy way of visually mirroring Jack’s increasing confidence and tentatively blossoming relationship with Connie. It seems weak, unnecessary and forced.
Here, again, the script fails to deliver a sense of urgency or need, however understated. It wouldn’t really matter if Jack didn’t learn to swim, he could still go boating (with a life-jacket), and eventually it almost doesn’t seem to matter whether he succeeds in cooking for Connie (another thread) and cementing their relationship, because we see nothing of Jack’s past in his present. His lack of history makes it difficult to connect with his destination. Jack’s goal is to get something right, supposedly, for once – which would be fine if we’d seen him, or at least had some sense of him getting something wrong. Wearing a woolly hat and being largely monosyllabic is not enough.
That said, the slow burning romance between Jack and Connie is at times surprising and avoids cliché – particularly with Connie’s eventual request to be “taken”, “overpowered” – a strangely uncomfortable scene that seems at odds with the root of her problems and hard to digest.
Throughout, the performances are immaculate, and it’s worth mentioning the all-important evening that descends brilliantly and squeamishly into calamity as hurt and truths come to the fore – a wonderfully crafted scene that is mesmerising, ugly and redemptive. But ultimately there is no measure to set this emotion against and sadly, in spite of the actors’ incredible skill, it works only on one level.
Generally, the wintery setting and evocative soundtrack create a film that is rich in mood, but with more detail than depth. Lacking any real antagonist or clear antagonistic force, the piece feels a little empty and purposeless.
But for all its flaws it is a poignant and quiet tribute to the ordinary, the small, the things that don’t shatter the earth, but move and alter people’s lives all the same.
Script…………………………………………………………………………………………….
Fails to escape its theatrical origins and work fully for screen. The pacing for
the most part is frustratingly plodding, and the obvious, slightly clunky visual
metaphors only illuminate the lack of narrative substance. 2
Direction………………………………………………………………………………………..
An intricate and interesting debut but disappointing given the extraordinary
and bold talent of Hoffman as an actor. 3
Verdict…………………………………………………………………………………………..
A bittersweet piece with a confidently poignant tone and wonderfully observed
characters, but lacks depth overall. 2
