Jay Kelly
Jay Kelly, the subject of Noah Baumbach’s new film “Jay Kelly,” is a 60-ish movie star, well-known and respected all over the world. Subtle hints in Baumbach’s and Emily Mortimer’s original screenplay insinuate that he has reached the level of a Paul Newman or a Cary Grant. He’s played by George Clooney – perhaps the only actor alive who could play this role. Clooney has the stature, the gravitas, and, let’s face it, the stardom to pull off this possibly autobiographical portrait of a huge star reflecting on his life choices.
European journey
Jay – along with his manager Ron (Adam Sandler), and his publicist Liz (Laura Dern) – embark on a journey to Italy where Jay is to receive a lifetime achievement award from an important film association in Tuscany. But first, Jay and his entourage take a side trip to France to eavesdrop on his younger daughter Daisy (Grace Edwards) as she and a small group of friends tour Europe by train. You see, Jay was anticipating spending a final summer with Daisy before she goes off to college. But, much as with Jay’s elder daughter Jessica (Riley Keough), Daisy no longer wants Dad in her life. Too many wasted years and milestone no-shows, per Jessica. Too many letdowns, the girls say.
Contemplation of life
What starts Jay’s life contemplation in motion is the death of motion picture director Peter Schneider (veteran British actor Jim Broadbent) who gave Jay his big break years ago. Long past his prime, Schneider had recently begged Jay to star in a new film project. Schneider needed a big hit, and he knew Jay could bring in the box office. Jay turned him down – a decision he now regrets.
At the funeral, Jay meets up with Tim, an old film school buddy played by the versatile Billy Crudup. When they go out for drinks, Tim admits he despises Jay for getting the movie part Tim desperately wanted. That was the part in Schneider’s film which set Jay’s career in motion. With Schneider’s passing, Jay’s finds his own life at a crucial juncture. On the one hand, he’s had a very successful career, and fans recognize him all over the world; on the other, the twice-divorced Jay has squandered any kind of family relationship with either daughter.
Sandler’s character
In one of Jay’s many deep discussions with his manager Ron (another outstanding performance from the one-time jokester Sandler), he reveals that he only wanted acting to be a temporary career – just enough to accumulate a nest egg so that he could devote his life to his family. Meantime, Ron’s goal has always been to find additional work for Jay. When one film finishes shooting, Ron always has the next project lined up. That’s his job, and he’s very good at it.
But as is typical of a Baumbach screenplay – He also wrote and directed “Marriage Story,” #1 on my list of Best Films of 2019 – there’s another layer or two to these proceedings. You see, Ron has his own family. And in an early heartbreaking scene, Ron has been eagerly anticipating a Saturday father-daughter tennis competition with his own daughter, only to be pulled away to take a call regarding Jay. Ron’s services are needed. And now! He leaves his disappointed daughter to attend to his top client.
In service to Jay
Every time Ron talks to his wife and kids from the European trip, he realizes he is missing out on his own family, just as Jay has missed out on his. The difference of course is that Ron works for Jay. Without Jay, Ron wouldn’t have a career. Yes, he has other clients, but most of his time is spent in service to Jay. And even though Jay considers their relationship a friendship, Ron is keenly aware that he will always be the servant and Jay the master.
The fact that Ron is so acutely cognizant of this fact is another feather in the cap for the once too-silly-to-be-true Adam Sandler. Over the past decade, he’s accumulated quite a career playing nuts-and-bolts fix-it men – the gambler in “Uncut Gems,” the basketball scout in “Hustle.” His later career “smart” characters abide in service to others, and Sandler has the fast-talking charm to pull it off. It’s great to see an SNL alum make it big by playing outside the proverbial sandbox of witless big-screen comedies. Sandler, perhaps even more so than Eddie Murphy (although I did love “Dolemite is My Name”), has done it!
Clooney almost perfect
And what more can be said about George Clooney? In real life, Clooney has reached the level of stardom displayed by Jay in “Jay Kelly.” It takes an authentic Jay to pull off this role. And again, Clooney may be the only actor alive who is able to hit all the right notes without “playing up” to the character. Jay Kelly might just be a big-screen version of Clooney himself. And that’s what makes the performance so endearing. We ache for Jay because we see Clooney (or at least the Clooney we think we know). When Jay sheds a tear watching an old home movie of his young daughters, we wonder how much of that Clooney is drawing from personal experience.
Since his brilliant turn in Alexander Payne’s “The Descendants” in 2011, Clooney’s career has been somewhat on cruise control. We often find him taking small parts in strong films, like “Gravity,” or playing in light romantic comedies like “Ticket to Paradise.” Don’t for a minute think “Jay Kelly” falls into these categories. Yes, “Jay Kelly” does have some humorous moments; but it is a far weightier film than first meets the eye. By the time the closing credits roll, we realize this picture has crept up on us, grabbed us by the shirt, and forced us to reckon with our own personal relationships. I almost heard Harry Chapin’s “Cat’s in the Cradle” playing in the background as I left the theatre. “Jay Kelly” is another very strong contender in a year chock full of meaningful and moving films.
Andy Ray‘s reviews also appear on https://townepost.com/tag/film-reviews/