Let me guess, movie making is as demanding and draining as child rearing…and, if you’re doing both together, well…kudos to you. Case in point, a gaunt and much thinner Helen Hunt. Well, maybe that was on purpose for her role. Anyway, after some intermittent hiatus since her second marriage in 2001 and the birth of her daughter in 2004, the Oscar winning actress (As Good As It Gets, 1997) comes out with a film that she co-writes, directs, and stars in. Then She Found Me shows that Hunt is alive and well, and that she certainly can multi-task.
As a directorial debut, Then She Found Me is a gem of a film. Based on the novel of the same name by Elinor Lipman, TSFM has been on the drawing board for a long ten years. To read NY Times’ Interview with Helen Hunt, Click Here. Hunt adapted the book into screenplay with Alice Arlen and Victor Levin throughout a few years’ period.
Dramedy is the word for this genre of film. The drama component of the movie spurs on some meaningful exploration: of motherhood, adoption, marriage, parenting, faith, and God… But it’s a comedy, first and foremost, and we’re rewarded by its remaining so. The movie is funny, smart, warm-hearted and entertaining…and best of all, we’re spared all the possible preachy sessions that could have come out from dealing with its subject matters.
Juggling motherhood and movie-making could have explained Hunt’s tired and thinner look. On screen, such an appearance is suitably in character, for she portrays a 39 year-old kindergarten teacher April Epner, newly married, and in a desperate rush to become pregnant before time runs out. As an adopted child, April is all the more longing for a baby of her own, thinking of the deeper relationship, bonding and meaning that can naturally come out from giving birth to and raising her own child as opposed to adopting one. To this view, her step-brother, the natural son of her Jewish adoptive mother responds, “No, it’s the same”.
Well, she soon finds out. Her excitement of finally getting pregnant is not shared by new husband Ben (Matthew Broderick). It is obvious that he is not eager to become a parent, or a husband, for that matter. Actually, this news comes to him after he feels that he has made a mistake in getting hitched for life, and has moved back to live with his mother. Sadly, Ben is still a boy, donning a baseball cap and expects everyone, especially his wife, to accept his Peter Pan confusion.
But that’s not all. Just after her husband has left her, April’s Jewish adoptive mother dies. And to top it all off, April encounters her birth mother Bernice (Bette Midler). Well to be exact, her mother has found her. But at this chaotic point in her life, April is ambivalent about coming face to face with her birth mother, especially one who is so brassy, imposing and self absorbed. Bernice is a local TV talk show host. After 39 years of absence, she suddenly decides she wants to find her daughter. But upon questioning by April why she had given her up after a short parenting gig, Bernice may have understood April’s ambivalence. And I like it when the film leaves the queries as queries… simple answers to questions like these are never easy to find.
Confused and emotionally fragile, April finds new romance and support in Frank (Colin Firth), the recently divorced father of a student in her class. His artist wife has left him for another guy and at the moment, she’s travelling the world with him. Underneath Frank’s calm and affable demeanor is a very hurt, confused, and anguished man. If Colin Firth thinks he still has not shed his stereotyped Darcy image, this is the time to do it. His versatility as an actor just shines through in this conflicting character. Once bitten, twice shy. Frank is emotionally vulnerable, yet he also yearns to establish a meaningful and loving relationship with April. The intermingling of two fragile and affable characters is the springboard to some amusing and poignant moments.
As a first time director of a full length movie, Hunt has done a proficient job, despite some minor problems with pacing and congruence of scenes. Certain shots could have been shortened to maximize the intended humor while some scenes ought to be connected more smoothly. The audience may need to fill in the blanks at times. Having said that, I feel that my enjoyment is not tampered a bit. One note of caution though, the language is part of the reason it gets an R rating, and that might turn away some viewers.
Kudos should go to the admirable acting by Hunt herself, as well as Firth and Midler. Midler is effective as a self-serving intruder at first, yet is sensitive enough to change, especially as she empathizes with April’s anxiety … learning to be a mother after all these years. And I must mention Salman Rushdie, yes, the Salman Rushdie, who plays a supportive role as the obstetrician. He has effectively sprinkled in some subtle humor.
Further, I admire Hunt for not shying away from the problem of faith, loss, and God. The plot lends itself naturally to the exploration of these complex issues, and Hunt has boldly dealt with them directly. The religious expressions and prayers uttered might be in Hebrew, but the yearning, and the angst, is poignantly human and universal.
Well, Mother’s Day has come and gone, but motherhood lasts a lifetime. As a devoted single-parent to his children, Frank in the movie has demonstrated that the marriage vow “for better or for worse, in sickness and in health” can aptly apply to parenting. And for all mothers, birth, adoptive, as well as those like Frank, who has to bear the responsibilities as one, it is in the nitty gritty of everyday realities that motherhood, or parenthood for that matter, finds its meaning and fulfillment.
(The indie film is currently being screened on limited engagement in North America. It’s rated R in the U.S. for language and sexual content. In Canada, it’s rated from 14A to G, depending on the Province where it’s shown.)
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