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 (073125)
Materialists is an intelligent, professionally written, and rather traditional
romcom film about a high-class woman who is making a fortune finding mates for
wealthy people, but of course, she has an unsatisfactory love life. She is torn
between her ex-boyfriend, a caring failed actor who is about her age, and a
phenomenally successful, rich, older businessman. I could guess the ending right
away, but I still enjoyed seeing the predictable plot mechanisms work out, and I
still ended up rooting for one of the suitors.
As soon as the film was announced, many things about it made me want to see it.
For one thing, the film was directed by Celine Song, the terrific Korean
Canadian director of
Past Lives, which was my favorite film of 2023 (I even
liked it more than
Oppenheimer). She wanted to work on the film because she was
a matchmaker in real life, and the film benefits from her knowledge and
expertise. Secondly, the film was distributed by A 24 who put out many of the
best films of the last decade such as The Witch (2015), Moonlight (2016), Lady
Bird (2017), Uncut Gems (2019),
Everything Everywhere all at Once,
The Whale
(2022), and The Heretic (2024). Almost all these films are much smarter and take
far more chances than your typical Hollywood big-budget film. Finally, the film
stars Dakota Johnson, the talented daughter of Melanie Griffith and
granddaughter of Tipi Hedren, who was exceptionally good in Cha Cha Read Smooth,
Social Network, and The Peanut Butter Falcon-the less said about her work in
Madame Web, the better.
Even with the pedigree, the Materialist is both a triumph and a disappointment.
Its sharp dialogue and class commentary elevate it slightly above most films in
the romantic genre; Pretty Woman or You’ve Got Mail immediately come to mind.
Unfortunately, it is in many ways more conventional and takes fewer risks than
other A24 films. It’s essentially a very good rom-com genre piece. It never
strays too far from its patterns and tropes, but it also never tries to subvert
or change the formula too much. Where other A24 films like
Sinners subvert the
horror genre by skillfully mashing together several other genres (crime,
western, and musicals) to create a historical clash between African American and
Irish culture. Materialist steers clear of tampering with its conventions and
sadly plays it safe, delivering a message not much deeper than "Happily Ever
After".
The film could not have a much better cast, and Dakota Johnson (50 Shades of
Grey), Pedro (Fantastic Four: First Steps) Pascal and Chris (Captain America: The First
Avenger) Evans are well placed in their roles. The film utilizes the
actors' obvious natural traits as part of the characters superbly, and it almost
seems like their roles were written specifically for them. For instance, Chris
Evans’s everyman proletarian charm is perfect as both Steve Rogers in the Marvel
U and his character, John, here. Because I liked the actors so much, I am not
sorry I did not love the whole movie more.
Class distinction is an important aspect of the film, hence the title:
Materialists. Dakota Johnson is likable as Lucy, a sweet but slightly snooty
upper-class woman who makes her living finding partners for other rich women at
a matchmaking firm. She is still in contact with her ex-boyfriend John, who is
her best friend. But his acting career never took off, and he is still living
with annoying roommates. You can tell that even though Lucy has love for him,
she also looks down on him a little and thinks he is a loser. On one of their
dates, we hear: “You can’t put your arms around a memory,” play on the radio.
This is perfect for the situation and reflects his character because it was sung
by Johnny Thunders, who, like Johnny in this film, also saw himself as kind of a
loser. His signature song is even called "Born to Lose".
Lucy’s other potential love interest and marriage partner, Harry (Pedro Pascal),
checks most of her boxes, which she realizes is not that great of a reflection
on her. While he is handsome, terrifically wealthy, and superficially pleasant,
he is also rather passionless (which he is also self-aware enough to realize)
and so shallow that he paid thousands of dollars to get an operation that made
him taller (a procedure that does exist). Like John, he desires Lucy, but he has
much less passion for her. He takes her on increasingly expensive and luxurious
dates, while John, who still hangs out with her, can barely afford an average
restaurant. But when she has a personal crisis, John is the one she knows she
can rely on.
It seems like Lucy’s experiences at work have hardened her. She see's marriage
not as a public acknowledgement of an irresistible physical and romantic bond,
but instead as a logical business transaction involving the merging of funds.
It's a hard-nosed philosophy could result in making her reject the true love of
her life, and a very materialistic point of view.
Materialists never tries to redefine or evolve within its genre, but it does
what it is supposed to do very well. If you’re in the mood for a decent,
well-made romantic comedy with relatable characters going through the expected
rom-com highs and lows, you will probably like it. Unlike
Past Lives, this film will never be confused for a masterpiece, and
director Celine Song does not stick her neck out too far this time. Her new film
is certainly entertaining and well-made, but it’s not all that special, and it’s
a little sad when you see someone with the unique potential to become a great
artist start aiming lower.
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