My escapism via rewatching all of fast-talking and esoteric reference laden Gilmore Girls had me admiring creator Amy Sherman-Palladino‘s repertoire. True to fashion, I carefully watched opening credits to each Gilmore Girls episode in my revival, and Nicole Holofcener’s name appeared as Season 2 episode 11 director (“Secrets and Loans“). Sure enough, I recalled the understated and touching Lovely and Amazing (2001), so my interest was piqued doubly when an article praising Nicole Holofcener’s first feature Walking and Talking (1996) starring mostly fresh faces of Anne Heche, Catherine Keener, Liev Schreiber, and Todd Field plus the charming rental video geek Kevin Corrigan established the necessity of watching Walking and Talking (1996) before Enough Said (2013). In a way, I wanted to establish a familiarity with her sensibility prior to engaging with the latest release that had an unavoidable emotional valve with the late James Gandolfini on screen and vulnerable.
Complicated, traditional plots are not the core to Enough Said nor any of her films. More effective and poignantly, Holofcener relies on emotional truths and perceived truths to punctuate and layer the narrative. The story pivots on middle-aged, divorced massage therapist Eva (Julia Louis-Dreyfus) who lugs equipment from client to client as she dreads the departure of her daughter Ellen (Tracey Fairaway) to Julliard. Ellen and Eva have a harmony to their relationship that magnifies the sense of separation to be felt on both sides. They acknowledge in small moments this turning point in their bond and dynamic. Change is inevitable.
While Eva endures the solipsism of her clients babbling as she goes about her practice, she conveniently has a close friend in therapist Sarah (Toni Collette), which widens her daily grind. Sarah and her husband Will (Ben Falcone) act as proverbial Charons to LA intellectual parties. It is here that Eva’s predictable life gets rattled. In quick succession, Eva meets poetess Marianne (Catherine Keener) and TV archivist Albert (James Gandolfini). The former becomes a new client windfall as the latter endeavors to pursue Eva romantically. Unbeknownst to Eva for a few weeks, Albert and Marianne’s comments about their respective exes become doubly confounding and no longer distant sketches upon the realization that Albert and Marianne had been married long enough to produce a daughter named Maddy (Ivy Strohmaier) also about to embark on the college chapter. Having befriended lonely Marianne and smitten with Albert, Eva decides to keep both people in her life with neither of them aware of her common thread. Naturally, such a charade cannot be maintained for long, but this is not the focus explored by Nicole Holofcener. Rather the camera lingers on Eva’s sense of guilt and admitted conflation of how she views and speaks to Albert. Marianne’s complaints when viewed anew by Eva carry some of her irritation yet mutes the complete scold. Passive aggressive digs occur which injure Albert. The honest foundation laid about shared woes in watching their children leave the nest and in how humor has masked displaying their true natures starts to loose footing.
Holofcener peeks into the marital problems that plagued Eva and her ex just as veteran married couple Sarah and Will bicker or critique each other. Thematically, Holofcener elevates the everyday exodus of kids to college into how this impacts both sides and strangeness for those dating in the later years. She also seems to suggest how much more principled these people become in the second Act as it relates to dating. Essentially, adults have a better sense of what they want to tolerate in character and a forgiveness in the physical attributes is customary.
This mini review cannot omit the import of James Gandolfini as Albert. Majority of audiences associated him with Tony Soprano or spoofs on that tough guy mobster; notwithstanding this, the late Mr. Gandolfini possessed a gracefulness of emotions and openness that breathed a new vantage upon which to appreciate him. Observing comedically gifted Julia Louis-Dreyfus and James Gandolfini stripping away their familiar modes of acting to facing one another as wounded, kind souls warmed my heart.
Drawing from these actors’ strengths, Holofcener championed the interaction of people as centerpieces for a film and asks the audience to value the same in their lives.