[CRITICAL] WHILE WE’RE YOUNG

Ofyears WHILE WE’RE YOUNG, the film director Noah Baumbach continues his / her introspection transposed on film, but nevertheless, on the contrary to a Greenberg, the coats attire much more mainstream: a fast pace, a cast of multi-generational and (relatively) glamorous, the characters and situations fairly characterized, a scenario and “events”.

This does, however, not really. The gap is too large between the surprising and intelligent reflection of socio-cultural, proposed by the film, and an accessibility that seems very genuine, or spontaneous; the films of Baumbach ‘s losing in the end, his personality and of his subtlety…

First, there is in WHILE WE’RE YOUNG the unpleasant impression that Noah Baumbach, 46-year-old, however, deals with impersonal – hollywood shall we say, even, a subject that he should, in theory, know and master: “a” midlife crisis.

To present his point of view, Baumbach uses a very classic confrontation between two generations ; a cynical observation of a reflecting mirror of a youth that has disappeared.

But where one might expect to find the usual fine writing of the characters Baumbach-ienna, instead of a certain emptiness story has not so much importance, WHILE WE’RE YOUNG takes a reverse position in its first part. Display of photographs, reports of frightened (and staggering) on the new york average and different humor falling broadly flat (dialogues earthy, but comic situation ridiculous, or a burlesque off-topic)

Exactly what we had spotted in the trailer, and that we had already surprised on the part of the filmmaker (see our article)

The presentations of Josh and Cornelia (quarantine) and then Jamie and Darby (“young”) are a succession of places-common:

– be parent, it is dumbed down in the breeding of “monsters, smelly and/or unable to intellectualize anything”; a form of death of part of oneself.

– not being a parent is synonymous with immaturity and of a leak of responsibilities

– be young in new york, it is to be hipster, connected (or not), free, sexually and politically, and spiritually beautiful…

– Age without children, requires to be compared with the youth…

“a around mainstream convincing mask an intelligent reflection of socio-cultural… Disappointing and confusing, for a film by Noah Baumbach.”

Yet, gradually, a few dissonances make themselves felt in this program as entertaining as inconsistent; and we find in Josh, the depressive behavior of Greenberg, but got rid of his misanthropy. With regards to young people, their attitudes, more and more contradictory, appear to be mere matter story (Cornelia is totally squizzée);

If these characters do not appear to us to be, never as nice, it is because Baumbach did we not speak to them but what they represent. Their characterization abused serves as the final reasoning as smart as confusing; the author asks what is our time, what remains of the report to the other, both in transmission (parent-child / old-age-youth) through the prism of the internet and everything connected to it; it observes the influence of the progress on daily life, on art, on communication. It is, after all, pretty exciting… too bad, however, that this thinking needs to be imposed via rules very hollywood entertainment and not through the personality of the filmmaker. Because when the author talked to us about him in the Berkman, this reflection of socio-cultural-was perhaps more discreet, almost subliminal, but undeniably more powerful, since merged with the charm of the film… That does not exist here.

In this, WHILE WE’RE YOUNG joined the Men Women & Children de Jason Reitman, also a display of characters clichés in the service of a speech-sum-any newbie on the same subjects. But even if it appears that Baumbach has a certain decline compared to Reitman, it is surprising to observe drown all of this in an accessibility quite overrated.

@Georgeslechamea

THE OTHER OUTPUTS OF THE 22 JULY 2015