Greenberg: The Great Projector

March 24, 2010

With Greenberg, director Noah Baumbach sharpens his usual focus on the greedy tics of self-absorbed protagonists by pointing his camera on nothing less than a formerly institutionalized misanthrope, probably his most extremely dysfunctional character to date. But the title character is something much more than a self-centered egoist who hates people. He re-directs the hatred he has for himself into disdain for the behaviors of not only what he perceives are the common masses but the actions of those that love him. Baumbach and his wife, actress Jennifer Jason Leigh, craft a masterful script to form Greenberg, and Ben Stiller does an amazing, patient job at bringing this character to life.

Greenberg is a carpenter with an attitude fueled by a passion for letters of complaint to companies like Starbucks and American Airlines and wistful memories from the 80s of playing in a new wave/post-punk trio that nearly signed a major label deal. But the only real talent he has is finding something to complain about in every situation he stumbles into, especially with those he thinks he knows. His letters are nothing compared to the anger he throws on those closest to him.

After supposedly being released from a mental hospital, Greenberg, a New York transplant, finds himself house-sitting for his brother in Los Angeles. While Greenberg’s brother heads off to enjoy Vietnam with his wife and kids, Greenberg is left to tend to the family dog, who has grown weak with an autoimmune disorder (Greenberg at one point worries about catching the dog’s illness, but it’s as if the dog actually caught it from him). In the meantime, he takes advantage of his brother’s personal assistant, Florence (Greta Gerwig), an aspiring singer in her mid 20s with a weak self-esteem. Despite his crude manner of canceling a date with her at a bar to instead split her only bottle of beer at her place, she accepts his advances for a brief sexual encounter that ends as abruptly as it had begun, doing nothing for either one of them.

As their relationship turns on but mostly off, the care of the dog seems to provide the only glue that can hold them together. Greenberg also spends much of his time catching up with his former band mate and longtime friend Ivan (Rhys Ifans), a soft-spoken man whose 10-year marriage with the mother of his only son has begun to unravel. Greenberg is more happy about the marriage’s dissolution than he is about signs Ivan can work it out. During a dinner out with Ivan and Florence, Greenberg suddenly shuts down an attempt by Ivan to celebrate Greenberg’s 40th birthday by having the waiters bring over a cake and sing “Happy Birthday” with a tantrum. These two characters’ generous attempts to show Greenberg some affection coupled with their own sorry states provide the perfect foils for Greenberg, whose weak anger could find no more comfortable place (there are some brief moments when Greenberg tries to confront strangers to sad but funny ineffectiveness).

Stiller’s performance is nothing short of brave because you can bet lots of people will come to this movie expecting the buffoonery that helped get him the popularity he currently enjoys. But this movie is no Dodge Ball or Tropic Thunder. The last time Stiller did something this low-key was in Reality Bites, though the Greenberg character is probably as ugly as the one in Permanent Midnight, a hardcore tragic drama of a man’s rise and fall in the world of writing a sitcom for TV, based on the true story of the writer behind “ALF.” That film remains one of his least popular.

In Greenberg, Stiller captures his character’s complex as much with his pauses and silences as with his harsh opinions. At Greenberg’s low-key 40th birthday celebration, when Ivan says, “Youth is wasted on the young,” Greenberg responds by saying, “I’d go further,” while staring down at his menu. “I’d say life is wasted on … people.”

I was hoping this to be a laugh-a-minute, though self-deprecating film like the Squid and the Whale, but Baumbach has taken the self-deprecation to a whole new level, along the lines of Margot at the Wedding. Greenberg is a dark glimpse into a man who only seems misanthropic but is actually more in love with his sad, negative self than anyone else around him. Greenberg is a walking pile of hang-ups that he constantly projects on others. What he hates about people is what he hates about himself. Throughout the movie, Greenberg meets people who have moved on and grown up, while Greenberg seems to delight in his therapist’s analysis of his issues. Toward the end of the movie, he attempts to bond with Florence telling her, “My shrinks says, I have trouble living in the present, so I linger on the past because it felt like I didn’t ever really live it in the first place.” Again, his attempts to bond with others turns to himself.

The movie culminates with a drug-fueled party, where Greenberg finally gets a look in the mirror per se, as scores of young people surround him, and it’s literally an unrecognizable, lifeless creature floating in his brother’s pool with a single eye staring back at him. From here on, he can either choose to run further from himself and his life or dive in and start to finally live. In the Myth of Sisyphus, Albert Camus wrote, “This world has a higher meaning that transcends its worries, or nothing is true but those worries. One must live with time or die with it, or else elude the greater life.” Baumbach offers no clear answers as to whether this lump of wounded humanity has learned to take personal responsibility for maintaining a relationship. The audience can only hope that Greenberg’s choice at the end of the movie to not run away from his developing sense of self is but the start of something remotely caring of others.

In the end, Greenberg proves itself as one of those rare character studies that keeps you hooked with interest thanks to a strongly drawn out and naturally played unstable protagonist (reminiscent of Adam Sandler’s turn in Paul Thomas Anderson’s under-appreciated Punch Drunk Love). Stiller’s subtle acting is a refreshing change from his usual shrill, over-the-top clowns. Credit is also due to the supporting work by Gerwig and Ifans, who play people with more subtle hang-ups, yet know how to live in their skin with just enough comfort. Baumbach has turned one of the darker corners of his film career, but it shines an amazing spotlight on human behavior.

Greenberg is rated ‘R’ and opens in wide release on Friday, March 26.

(Copyright 2010 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

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