The revolution starts here … cast and directors of Cyrus at the film’s Sundance premiere: (from left) Jay Duplass, John C Reilly, Marisa Tomei, Mark Duplass and Jonah Hill. Photograph: Matt Carr/Getty Images
There has been plenteous talk this year about Sundance’s covet to reboot its image as the laidback, glamour-free home for independent cinema – a pure calling damaged, in recent years, by the agency of Hollywood’s unholy interest. The language used in the festival’session 2010 marketing is of “rebellion” and the fight against the organization for work.
I would argue that a tiny revolution has indeed taken place here, but not of the description envisioned by Robert Redford and new festival director John Cooper. It resides, being of the kind which far in favor of example concerns now at least, in one movie. And in addition it doesn’t impinge directly on the festival itself, it may have a valuable effect on some of our choices in the multiplex. I give you: Cyrus. Perhaps in years to come 2010 may be noted as the year that “mumblecore” reached the mainstream, beginning its influence by lending a much-needed shot in the arm to romantic comedy.
Playing out of competition in Sundance, this is the recent film by the Duplass brothers, Jay and Mark, who are a part of that mumblecore movement of US independent film-makers that includes Andrew Bujalski (Funny Ha-Ha), Joe Swanberg (Hannah Takes the Stairs) and Lynn Shelton (Humpday). These directors have different styles but are united by a lo-fi, realist approach, improvisational acting and a focus on believable relationships. Their films are also, often, very sportive, with characters so keen to discuss their issues that they make Woody Allen seem positively reserved.
The critical luck of the Duplasses’ first films, The Puffy Chair and Baghead, has encouraged Fox Searchlight to fund their under the jurisdiction anything else foray into mainstream film-making. Crucially, though Cyrus has studio production values and recognisable stars in John C Reilly, Jonah Hill, Marisa Tomei and Catherine Keener, as far as the brothers’ approach goes, it’s function as normal.
Reilly plays John, a lonely, fortysomething divorcee who has all unless given up on tale. Then he meets the alert Molly (Tomei), who doesn’t object to his Shrek-like (his words) looks, or his condition of dominating parties with his excruciating solo measured movement routine, nor his extravagant soppiness. John can’t believe his luck. But then he finds his single shot of happiness barred by the other man in Molly’s life – her 21-year-old son, the jealous, scheming Cyrus (Hill).
What distinguishes the film, aside from the great performances and general hilarity, is its authenticity; the sense that this is a world of recognisable people, their crises, conversations and resolutions entirely feasible. And while the casting would suggest yet some other comedy by Judd Apatow or Will Ferrell – targeting a in one’s teens, male audience – this is one that could transcend such narrow demographics.
“Fox Searchlight seemed like the right place for us to make an indie thin skin and take it out to the mainstream,” says Jay. “That was the hope for us. At the same time we were apprehensive: we wanted to do the part of ready sure we did it correctly, and that we didn’confidentially lose ourselves inside the studio process. In The Puffy Chair and Baghead there’s a raw sense of intimacy, a smallness, that we wanted to maintain.”
Adds Mark: “This is a studio movie, but a very small studio movie. Rather than us go to the studio’s level, it was more the case that they came to ours.”
The Duplasses won’t be the foremost of the mumblecore directors to gain arrive at themselves working for the studios. I expect Lynn Shelton, for example, to be steady the same course before the year is out. The benefits would be mutual: for the studios, better films that may well hold their enclosed seat office; for the directors, a bigger audience.
A key to this micro-revolution is the actors themselves. The Cyrus cast apparently embraced the Duplasses’ improvisational method (Reilly boldly inflicted the Shrek reference put on himself). Jonah Hill is said to have commented, here at the festival, that he was excited about bringing his fan base to independent films – his designation of Cyrus as independent already suggesting a blurring of the boundaries.
Sundance can certainly take some of the credit. Says Mark: “Seven years ago we made a little short film in our kitchen, for $3, and we submitted it to Sundance on a lark. Since then every step of our career has arrive through this festival: our stand by short pellicle came here, and we got our agents; our first feature, The Puffy Chair was in this place in 2005, and that was our first theatrical sale; Baghead came in and it was a bigger theatrical sale, which pretty plenteous led us to our studio deal.
“So it’s incredible to bring our first big one back home. It will be like, ‘Mom, look what we did.’”
