I like to think of Rachel Getting Married as the film for which Anne Hathaway really should have won an Oscar. A glorious cinematic tour de force, it’s undoubtedly her finest film to date – not only due to her own performance, but also because of the sheer brilliance of what director Jonathan Demme has built around her.
Hathaway stars as “Kym,” a former model who takes a break from rehab to attend her sister “Rachel’s” (Rosemarie DeWitt) wedding. Of course, Kym’s arrival brings up a whole host of issues, threatening to derail the nuptials and tear the family apart.
Along with screenwriter Jenny Lumet, Demme has crafted a sharp, stunning film. At times, it’s almost sickeningly real, showing the pain of family conflicts without devolving into melodrama. What’s most impressive, though, is Declan Quinn’s cinematography, which feels completely intimate without being invasive. He essentially just follows the actors around, allowing for a true slice-of-life feel.
It’s the cast, though, that really makes the movie. Hathaway is a revelation, playing Kym’s volatility and vulnerability with almost frightening ease and making Lumet’s quick, acerbic dialogue feel utterly natural. As for DeWitt, she has a lovely, subtle screen presence, and she takes us on Rachel’s emotional journey with nuance and grace. The rest of the cast is uniformly excellent – particularly legendary performer Bill Irwin as Kym and Rachel’s father, who steals every scene he’s in with his quietly frantic charm.
If you enjoyed Hathaway’s work in Les Miserables, you’ll adore her in Rachel Getting Married. Not only does she give a stronger peformance, she’s simply working with more interesting material, and she uses it to her full advantage. It’s a shame that she was awarded so late for her talent.
Leave a Reply