Theater director Caden Cotard is mounting a new play. His life catering to suburban blue-hairs at the local regional theater in Schenectady, N.Y., is looking bleak. His wife Adele has left him to pursue her painting in Berlin, taking their young daughter Olive with her. His therapist, Madeleine Gravis, is better at plugging her...
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Theater director Caden Cotard is mounting a new play. His life catering to suburban blue-hairs at the local regional theater in Schenectady, N.Y., is looking bleak. His wife Adele has left him to pursue her painting in Berlin, taking their young daughter Olive with her. His therapist, Madeleine Gravis, is better at plugging her best-seller than she is at counseling him. A new relationship with the alluringly candid Hazel has prematurely run aground. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one. Worried about the transience of his life, he leaves his home behind. He gathers an ensemble cast into a warehouse in New York City, hoping to create a work of brutal honesty. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a growing mockup of the city outside. The years rapidly fold into each other, and Caden buries himself deeper into his masterpiece, but the textured tangle of real and theatrical relationships blurs the line between the world of the play and that of Caden's own deteriorating reality.
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From Charlie Kaufman's spotless mind comes this fever pitch of a cinematic puzzle. You could quite possibly be enthralled --or not.
Cooked up in the head of Oscar-winning screenwriter Charlie Kaufman (Being John Malkovich) comes the movie in which he makes his directorial debut. Without Michel Gondry or Spike Jonze sifting through the maze this time, Kaufman himself weaves this crazy quilt with consummate skill. In other words Synecdoche, New York is just as successfully quirky, humane and head scratching as all the others in the Kaufman ouerve. To sum up the plot succinctly is impossible but it centers on a stage director and hypochondriac, Caden Cotard (Philip Seymour Hoffman), who trades in his suburban life with wife Adele (Catherine Keener), daughter Olive (Sadie Goldstein) and regional theatrical work in Schenectady for a chance at Broadway. He puts together a cast (resembling those in his own dream world) and brings them to a Manhattan warehouse being designed as a replica of the city outside. As the world he is creating inside these walls expands so does the focus of his own life and relationships. As the years literally fly by he gets deeper into his theatrical self which soon starts to merge with his own increasingly pathetic reality.
Whatever you make of the tale Kaufman is telling here, the casting could not be better or more suited to the quirky material. Philip Seymour Hoffman offers up a tour-de-force and is simply superb playing all the tics and foibles of the deeply disturbed Caden. His early scenes in his "normal" home are wonderfully alive with all his phobias and hypochondria in view. Later, we literally watch this man disintegrate as his master creation overwhelms him. Hoffman seems to fully understand the mental trauma of a man running as far from his own realities as he possibly can. Catherine Keener, as always, is right on target as his wife Adele. She has a knack for taking what seems like tiny moments and making them define exactly who this woman is. Jennifer Jason Leigh, as a mentor to Caden's daughter, is always fascinating to watch and plays Maria with an ounce of irony. Tom Noonan, playing the actor portraying Caden in the play, is the perfect doppelganger and delightfully adds to Caden's confused state. The all-pro trio of Michelle Williams as Caden's new wife Claire; Samantha Morton as the irresistible assistant Hazel; and Hope Davis as Caden's self-absorbed therapist add greatly to the merry mix.
It's nice to watch Charlie Kaufman seize control of his own work. In this instance, he's really the only one who can deliver us his Fellini-esque vision. Centering it all on the theatrical director's weird universe, Synecdoche does seem like it might be Kaufman's own take on Fellini's 8 ½ or even Woody Allen's paean to that film, Stardust Memories. Let's just say, we know most of it must exist somewhere inside Kaufman. Early domestic scenes could have been played flat but the novice director moves the camera around skillfully enough to make us immediately engaged in Caden's world. Second half of the film, set in the phantasmagoric warehouse, is a stunning tapestry of scenes from Kaufman's singularly fertile imagination. It's nice to note he's well equipped with the basic tools a director needs for this type of challenging material. Overall, his film is a surprising, confounding visual feast -- a dream/nightmare come to life and then spinning out of control.
Hollywood.com rated this film 3 stars.
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