sideways. review of the movie by alan haber. buhdge

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"Watching movies at home is, in many ways, preferable to going to the movie theater. It's quiet (no chatty yaketty-yakkers), more comfortable, and the sound is likely to be better (especially if you've got a good sound system). But nothing can replace the big, theater screen experience..." - Alan Haber

Sideways Written by Alexander Payne and Jim Taylor Directed by Alexander Payne Fox Searchlight (2004) Alexander Payne, through four movies, has demonstrated that he knows me like a book. He probably knows you, too, and here's why: He's a smart cookie, a keen observer of the human condition. And Payne knows, just as you and I know, that the human condition is just this side of farblondget, or dysfunctional, for the non-Yiddish speaking amongst you. Admit it: you and I would rather lay sideways than straight and narrow, because it's easier to throw socks on the floor instead of in the hamper. In other words, it's hard to survive in a world gone mad. Downbeat, struggling writer Miles, played with the usual extra measure of keen insight that Paul Giamatti always brings to the cinematic table, takes his friend Jack, essayed with surprising depth by Thomas Haden Church (from TV's Wings), on a week long trip through California's wine country that is supposed to function as the sowing of Jack's wild oats before he gets married at the end of the week. Not surprisingly, the week does not go as planned. For one thing, Jack is an ass whose mission it is to stuff as much debauchery into the week as possible. His fiancee is the polar opposite of wild, though; the daughter of well-off parents, she probably thinks she knows Jack even as she suspects that his wild oats do not come pre-sown. Miles, on the other hand, is still pining for his ex-wife, whom he divorced two years before. He trudges through a boring job teaching English to kids, obsesses over the negatives in his life, even noting at one point that because he can't seem to publish his novel (it is rejected at every turn) he couldn't kill himself; as Jack points out, you have to be published first if you want to be a writer who pulls his own plug. While there is obviously at least a smattering of affection between the two men--they were freshman college roommates--there seems to be no reason for them to be friends, much less road buddies on a mission to find themselves. Well, Miles certainly is on the prowl for such edification; Jack seems to already know who he is, for better or worse. Miles wants to play golf and tour the vineyards, talk wine, find himself amidst his interests and the life he encounters, whereas Jack just wants to get laid, and he doesn't seem to care much who he has to partner up with to make that happen. At least he's responsible--he carries rubbers in his wallet. Miles hasn't hooked up with anyone since his divorce, but he's well known in the wine country, and knows many of the people at the wine establishments by name. He also knows one of the waitresses at a restaurant he frequents during vineyard trips. Maya, played with assuring confidence by Virginia Madsen (looking more beautiful than ever), has caught his eye on previous visits, and perhaps they exchanged glances in a romantic way in the past, but Maya is also divorced and weary of getting involved with anyone. She's studying for a Masters degree in horticulture and looking at her waitressing job as only temporary. In the restaurant one night during their trip, Miles talks to her, but nothing comes of it. At one of the vineyards, Miles and Jack are served wine by Stephanie, played by the comic actress Sandra Oh (who just happens to be married to director Payne). Stephanie and Jack hit it off big time, like wild animals in heat. Stephanie is a good match, at least outwardly, for Jack, and, pretty soon, after Stephanie tells the guys she knows Maya, the four get together at Stephanie's house and before you can say "Where are my rubbers?", Jack and Stephanie are going at it like two wild tigers. Meanwhile, Maya and Miles just talk, about wine, about nothing in particular, in low tones, neither really exposing their feelings, and the night ends for the two of them without even a hint of romance. At the end of Stephanie's driveway, Miles, going back to his motel without Jack, who stays behind at Stephanie's house, follows just behind Maya's car. She gets out and walks to Miles, who offers to give her a copy of the manuscript for his novel, which Maya accepts. She says she'll read it. The imagery of the two cars going their separate ways is important, along the lines of the old story about the two doors: Which one should you choose? Which one will determine the more appropriate fate? Jack continues to build his romantic entanglement with Stephanie, which, let us remind ourselves, is based solely on a lie, not telling her he's going to be married on Saturday. She comes to love him in a matter of just a few days, even introducing her child to him. Things are moving fast, but Jack's idea is that there are no strings, and he'll be gone soon anyway, so no harm done. Best laid plans... To say much more would be telling too much. What is the fate of the quick-paced romance between Jack and Stephanie? Will Maya warm up to Miles? And how will these characters continue to intersect, to affect each other's lives? And who will be the wiser when all is said and done? Although I was not surprised by anything that happens in this movie, I was totally engaged with the point of view presented by Payne and Taylor. The dialogue is steeped in truth, and the actors, across the board, take that truth and turn it inside out. When the movie ends, in just the right, ambiguous way, it feels so honest, and so...well, true. All four principals are simply stellar, but Giamatti, building on his ace performance in American Splendor, is almost certain to be nominated for Best Actor at next year's Oscars. If he doesn't win, it would be a shame. The best of Payne's four movies, Sideways trumps the director's last picture, About Schmidt, in every way. About Schmidt left me cold; I just couldn't accept Jack Nicholson, great actor that he is, as the crestfallen title character, and the movie simply rode the rails like it had all the time in the world to get to its destination. Now, to be fair, Sideways is hardly a road race, but every movement within its borders seems more natural, with everything happening at its own pace, in its own time, as it should be, as it would be if this were real life. And it is real life, as you will see. We all struggle with aspects of our lives, with how we react to even the smallest uplifting or saddening detail. We move on because there is no better choice, and Miles, certainly, knows that. Jack...well, Jack doesn't know jack, but the disparity between him and Miles that lies at the center of this great, knowing film, that is the pivot that sets the emotional wheels in motion, is not unlike a relationship or two that I've had, that perhaps you've had. I could feel Miles's pain, at least in small measure. The next time you wonder how low someone can go in life, think of what happens to Jack after he chats up a waitress at one of the restaurants he goes to with Miles. This movie is about how low you can go, how low life takes you, how you must rebound, how you must seize the moment and greet the brand new day. Payne and Taylor, adapting a novel by Rex Pickett, obviously know about rebounding; just watch their other moves. For proof, observe Matthew Broderick's character in Election as he tries, and ultimately fails, to a fault, to bounce back. Some people deserve what they get, I guess; what you and I get from Sideways is what we need. Alan Haber November 28, 2004
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Sideways
Written by Alexander Payne and Jim Taylor
Directed by Alexander Payne
Fox Searchlight (2004)

Alexander Payne, through four movies, has demonstrated that he knows me like a book. He probably knows you, too, and here's why: He's a smart cookie, a keen observer of the human condition. And Payne knows, just as you and I know, that the human condition is just this side of farblondget, or dysfunctional, for the non-Yiddish speaking amongst you. Admit it: you and I would rather lay sideways than straight and narrow, because it's easier to throw socks on the floor instead of in the hamper.

In other words, it's hard to survive in a world gone mad. Downbeat, struggling writer Miles, played with the usual extra measure of keen insight that Paul Giamatti always brings to the cinematic table, takes his friend Jack, essayed with surprising depth by Thomas Haden Church (from TV's Wings), on a week long trip through California's wine country that is supposed to function as the sowing of Jack's wild oats before he gets married at the end of the week. Not surprisingly, the week does not go as planned.

For one thing, Jack is an ass whose mission it is to stuff as much debauchery into the week as possible. His fiancee is the polar opposite of wild, though; the daughter of well-off parents, she probably thinks she knows Jack even as she suspects that his wild oats do not come pre-sown. Miles, on the other hand, is still pining for his ex-wife, whom he divorced two years before. He trudges through a boring job teaching English to kids, obsesses over the negatives in his life, even noting at one point that because he can't seem to publish his novel (it is rejected at every turn) he couldn't kill himself; as Jack points out, you have to be published first if you want to be a writer who pulls his own plug.

While there is obviously at least a smattering of affection between the two men--they were freshman college roommates--there seems to be no reason for them to be friends, much less road buddies on a mission to find themselves. Well, Miles certainly is on the prowl for such edification; Jack seems to already know who he is, for better or worse.

Miles wants to play golf and tour the vineyards, talk wine, find himself amidst his interests and the life he encounters, whereas Jack just wants to get laid, and he doesn't seem to care much who he has to partner up with to make that happen. At least he's responsible--he carries rubbers in his wallet. Miles hasn't hooked up with anyone since his divorce, but he's well known in the wine country, and knows many of the people at the wine establishments by name.

He also knows one of the waitresses at a restaurant he frequents during vineyard trips. Maya, played with assuring confidence by Virginia Madsen (looking more beautiful than ever), has caught his eye on previous visits, and perhaps they exchanged glances in a romantic way in the past, but Maya is also divorced and weary of getting involved with anyone. She's studying for a Masters degree in horticulture and looking at her waitressing job as only temporary. In the restaurant one night during their trip, Miles talks to her, but nothing comes of it.

At one of the vineyards, Miles and Jack are served wine by Stephanie, played by the comic actress Sandra Oh (who just happens to be married to director Payne). Stephanie and Jack hit it off big time, like wild animals in heat. Stephanie is a good match, at least outwardly, for Jack, and, pretty soon, after Stephanie tells the guys she knows Maya, the four get together at Stephanie's house and before you can say "Where are my rubbers?", Jack and Stephanie are going at it like two wild tigers. Meanwhile, Maya and Miles just talk, about wine, about nothing in particular, in low tones, neither really exposing their feelings, and the night ends for the two of them without even a hint of romance.

At the end of Stephanie's driveway, Miles, going back to his motel without Jack, who stays behind at Stephanie's house, follows just behind Maya's car. She gets out and walks to Miles, who offers to give her a copy of the manuscript for his novel, which Maya accepts. She says she'll read it. The imagery of the two cars going their separate ways is important, along the lines of the old story about the two doors: Which one should you choose? Which one will determine the more appropriate fate?

Jack continues to build his romantic entanglement with Stephanie, which, let us remind ourselves, is based solely on a lie, not telling her he's going to be married on Saturday. She comes to love him in a matter of just a few days, even introducing her child to him. Things are moving fast, but Jack's idea is that there are no strings, and he'll be gone soon anyway, so no harm done. Best laid plans...

To say much more would be telling too much. What is the fate of the quick-paced romance between Jack and Stephanie? Will Maya warm up to Miles? And how will these characters continue to intersect, to affect each other's lives? And who will be the wiser when all is said and done?

Although I was not surprised by anything that happens in this movie, I was totally engaged with the point of view presented by Payne and Taylor. The dialogue is steeped in truth, and the actors, across the board, take that truth and turn it inside out. When the movie ends, in just the right, ambiguous way, it feels so honest, and so...well, true. All four principals are simply stellar, but Giamatti, building on his ace performance in American Splendor, is almost certain to be nominated for Best Actor at next year's Oscars. If he doesn't win, it would be a shame.

The best of Payne's four movies, Sideways trumps the director's last picture, About Schmidt, in every way. About Schmidt left me cold; I just couldn't accept Jack Nicholson, great actor that he is, as the crestfallen title character, and the movie simply rode the rails like it had all the time in the world to get to its destination. Now, to be fair, Sideways is hardly a road race, but every movement within its borders seems more natural, with everything happening at its own pace, in its own time, as it should be, as it would be if this were real life.

And it is real life, as you will see. We all struggle with aspects of our lives, with how we react to even the smallest uplifting or saddening detail. We move on because there is no better choice, and Miles, certainly, knows that. Jack...well, Jack doesn't know jack, but the disparity between him and Miles that lies at the center of this great, knowing film, that is the pivot that sets the emotional wheels in motion, is not unlike a relationship or two that I've had, that perhaps you've had. I could feel Miles's pain, at least in small measure.

The next time you wonder how low someone can go in life, think of what happens to Jack after he chats up a waitress at one of the restaurants he goes to with Miles. This movie is about how low you can go, how low life takes you, how you must rebound, how you must seize the moment and greet the brand new day. Payne and Taylor, adapting a novel by Rex Pickett, obviously know about rebounding; just watch their other moves. For proof, observe Matthew Broderick's character in Election as he tries, and ultimately fails, to a fault, to bounce back. Some people deserve what they get, I guess; what you and I get from Sideways is what we need.

Alan Haber
November 28, 2004