|
Our imaginations are funny things. They can drive us forward to meet our destinations or exhaust us with supreme isolation. Paper Man is about the type of imagination that absolutely crushes its beholder with limiting remoteness for two people, one inside a childless marriage, and the other, inside a local community. Co-directed by the husband-and-wife team of Kieran and Michele Mulroney, Paper Man waxes poetic with some quasi-heavy themes – writer’s block, lineage, suicide, and death – inside a light-hearted story that doesn’t ask much from its audience.
Approaching mid-life, Richard (Jeff Daniels) seeks a quiet residence for some summer writing. His wife (Lisa Kudrow) is supportive as she, too, could use a break from his obsessive and child-like ways. Richard quickly finds himself distract – doing what all writers do – and finds any excuse not to write the follow-up to his initial book. Seemingly ashamed of his first book’s failure, Richard buys as many copies as he can and starts to make furniture out them; always unsure of what to do with his hands. Young teen, Abby (Emma Stone) ends up meeting Richard and becoming his “baby-sitter” for the child he doesn’t have and discovers his book; the two quickly become friends and discover more about themselves as highly imaginative people. It seems Abby and Richard both have the same secret: their loneliness has created an imagined friend. For Richard, it’s Captain Excellent (Ryan Reynolds). For Abby, it’s her “forever” boyfriend, Christopher (Kieran Culkin).
Daniels seems to relish this role and it is refreshing to see him resurrect the edginess he is fully capable of. There is a cool breeziness to the type of strange he brings to Richard and it’s certainly never droll to see him act out his obsessions. He’s consistently on fire and, matched against the lovely Emma Stone, never once lowers his guard. It’s a good team and, together, the two of them sell the film without misstep. Stone is quite a talent herself and she shows more sensitivity here than in Easy A. She will be one to watch in the coming years as she realizes her own strengths as an actress.
What’s interesting in Paper Man is how well-used the imaginary characters are. Reynolds is tasked to be both humorous and sensitive and, while it might not work for some, the character of Captain Excellent provides exactly that. It all depends on how much weirdness you can tolerate. His hair is bleach-blonde. His outfit is ridiculously tight and his words are supposed to inspire a certain “go get ‘em” response from Richard. The only time, though, there seems to be a true chemistry between the two agents, though, is towards the end when Captain E. finds himself at wit’s end with Richard. He doesn’t want Richard to carry on with Abby; it’s dangerous and people won’t understand. Yet, Richard does exactly what Captain E. tells him not to do. Proof positive, that he doesn’t need him anymore.
Yes, that’s the lesson. That’s the growing Richard, who openly acknowledges his imaginary friend, needs to do in order to make things right with his life. There’s a poetic beauty to the quirk of Paper Man which sometimes gets undercut by its own unfolding; making it really hard to establish the right tone for the film. Is it wild and reckless? No, but I do question its thematic consistency and the ending is simply too nicely wrapped up to be completely satisfying. There’s proof of talent here, just a little undeveloped in the directing department.
Paper Man won’t tip the scales with thoughtful analysis, but it does make for some passionate filmmaking – even if it is not wholly a comedy or a drama.
MPAA Rating: R for language and a scene of sexuality.
Add this page to your favorite Social Bookmarking websites
