Review – Synecdoche New York
Saturday, April 17th, 2010I originally rented Synecdoche New York (SNY) because Charlie Kaufman wrote and directed it and I’ve loved his work in the past. It certainly wasn’t because I’d seen a trailer or any other advertising for the film. I don’t even know how I found out about it in the first place. It baffles me that studios, in this case Sony, will put money into a project and then leave it to die on the vine. This one didn’t even get a decent theatrical run, but that’s beside the point. The point is that SNY is one of the most brilliant films I’ve ever seen. I watched it twice in a row the first time I rented it and I keep going back for more now that it’s available as a Netflix stream.
The story defies description in that way that most of Kaufman’s work does. You remember Charlie Kaufman, right? He’s the writer who Hollywood has embraced as their “quirky” cousin who’s allowed to sit at the big table as long as he doesn’t flick any peas at other family members. The awesome thing is that pea flicking is almost all he does. He wrote Adaptation, that indictment of Hollywood wherein Nic Cage plays a fictional version of Charlie Kaufman and the actual screenplay credit is shared by the real Charlie and his fake twin brother. He also wrote Eternal Sunshine of the Spotless Mind, the Michel Gondry film that proved to me that the French director could do more than direct super cool Björk music vids. There’s also Human Nature and Being John Malkovich on the list but the subject today is his directorial debut, SNY.
The film stars Philip Seymour Hoffman in the role of Caden Cotard, a successful theatre director with a troubled personal life. His problems drive him to seek answers through the only medium he understands, the theatre. That hardly does this absurdist creation justice but it’ll have to do as I’m not fond of describing plots and even if I were I wouldn’t know where to begin here. The film is about everyone’s life. Singular. Life. Our life.
The film is honest despite being steeped in layers of fakeness. It represents our world within the concentric layers of it’s plot and players. Stephen King once wrote that a good writer reveals the truth through lies. Charlie Kaufman is a very good writer and his lies are some of the best going. The film is all the things I want a good film to be–engaging, funny, sad, disturbing, thought-provoking, entertaining, surprising… Those “I laughed, I cried” sorts of reviews usually make me wanna upchuck but in this case it’s true.
This is the kind of movie that makes you think about it for a long time after you’ve seen it. I think there are a great many different themes and ideas the viewer can walk away with so I won’t impose my own on you except to say that the lead character’s surname, Cotard, is most certainly a clue. I believe Kaufman is pointing out how our modern society has pushed many of us into a state of being very similar to that of the Cotard Delusion. Then again, what do I know? Maybe I’m not even writing this. Maybe I’m having my stunt double handle it today.
I’ve heard that a great many people hate SNY. They say they don’t get it and it’s slow and boring. I can understand why a brain dead mollusk might think that, but it doesn’t make the mollusk right. I encourage you to see it with an open mind and decide for yourself. We Americans have been trained by our own cinema to accept external action as the only kind of valid onscreen action. Fortunately, films like SNY reveal a vibrant world of internal action that can actually be created expressly for the screen. This story was never intended to be read on the page but to be seen onscreen. If the art of filmmaking has it’s William Faulkner, surely Kaufman must be him.







