A Perfectly Good Movie Gets a Remake — Why?

This movie has all of the elements of a successful soap opera except amnesia, a split personality played by the same actress, twins separated at birth or a plane crash that requires plastic surgery to explain replacing a fired actor with a new one. But, even without those tried and true daytime drama tricks, if  “Guiding Light” used this story line, it would defy belief. 

Why American filmmakers feel compelled to take a perfectly good small European film, think they can Hollywoodize it and make it better I do not know. “After the Wedding” was originally a Danish film with the same name directed by Susanne Bier and nominated for an Oscar for Best Foreign Language Film in 2007. This film is the exact same story, with the sexes swapped, directed by Brad Freundlich, starring his wife, Julianne Moore, Michelle Williams and Billy Crudup.

The beginning of the story is vaguely plausible — an earnest 40-ish American woman who runs an orphanage in India is summoned to New York by a powerful businesswoman who wants to give the orphanage a bunch of money. 

After arriving at a luxe penthouse suite in a hip downtown hotel, paid for by the benefactor, a somber, plainly dressed Isabel, played by Michelle Williams (who can even do dour and sanctimonious with light and grace) meets at a spiffy glass tower office with the generous and beautiful Theresa (Julianne Moore, who plays a hard charging powerhouse entrepreneur with humor, sexiness and charm) to discuss the potential gift. Just as Isabel launches into her pitch about the prevalence of child prostitution, starvation, and disease in India to a distracted Theresa, a harried assistant pokes her head in the door to tell Theresa that the caterer for her daughter’s upcoming wedding says there is a lobster shortage and he’d like to replace it with mussels and shrimp in the risotto. Moore crisply asks if there is actually a lobster shortage or is he just unable to find any?  Her nonchalant bitchiness moves easily into casual, warm graciousness when she turns back to Isabel and invites her to the upcoming wedding.

Improbably, Isabel goes to the wedding at the home of strangers. She arrives late, panting (of course she does — why do directors always use this hackneyed device?) at a large country estate on the water.  Immediately Isabel spots Theresa’s husband, and from the look on her face — we know that trouble is ahead. When Oscar, a famous sculptor and the father of the bride, sees her he loses all the color in his face and a tense meeting ensues. From that moment on, each twist and turn of the story is more implausible than the last. 

In spite of the obnoxious story lines (and there are many) Moore and Williams deliver luminous performances. Williams is that rare actress whose implacable face holds the whole story in the light or absence of light her eyes. Moore manages to be both detestable and sympathetic in her part, but Billy Crudup as the supposedly sensitive artist looks like a pool hall shark smirking through his saddest and angriest moments. 

Abby Quinn as Grace, the bride (one wishes the director could have found an actress who slightly resembled at least one of her parents) plays it with all of the whiny sincerity one expects from the only child of two rich and “interesting” parents.   

If I tell you more I’ll spoil the melodrama to follow. I will tell you that relationships will be tested, tears will be shed, decisions will be regretted and some things won’t change for the better. But the director seems to be saying in a million different ways — it’s all part of this crazy game called life. As I left the theater I heard a man ask his friend, “What life lesson did you learn from that?” I silently answered, “Never again go to an American remake of a perfectly good European movie.”

 

“After the Wedding” is playing widely.

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