Film Review: The Savages (2007)
One of the most frustrating practices in Hollywood is the tendency to market films as comedies, only for viewers to discover that they are, in fact, serious and often unpleasant dramas. A prime example of this is The Savages, a 2007 film written and directed by Tamara Jenkins. This film presents itself with a quirky charm that misleads audiences into expecting light-hearted entertainment, yet it ultimately deals with the grim realities of familial responsibility and the complexities of elder care.
The plot revolves around Wendy Savage, played by Laura Linney, an aspiring playwright residing in New York City, and her older brother Jon, portrayed by Philip Seymour Hoffman, a drama teacher at a college in Buffalo, New York. The siblings are thrust into a difficult situation when their estranged father, Lenny (Philip Bosco), begins to show signs of advanced dementia after the death of his wealthy girlfriend. With Lenny losing his accommodation in a retirement community in Sun City, Arizona, Wendy and Jon decide to relocate him to a modest nursing home near Buffalo. This decision forces them to confront not only their father's deteriorating condition but also their own troubled pasts and the immaturity that has hindered their romantic relationships.
At first glance, The Savages appears to fit the mould of a quirky comedy that critics and film festival juries often celebrate. Following its premiere at the Sundance Film Festival, it was released during the awards season of late 2007. The film's initial tone suggests a light-hearted exploration of family dynamics, which is further bolstered by its clever dialogue and situational humour. However, while there is some humour present—particularly in the film's first half—the tone gradually shifts to something more serious. The situations that Wendy and Jon must navigate become increasingly distressing for the audience, especially for those who have experienced similar familial challenges or anticipate facing them in the future. This transition from comedy to drama highlights the film's deeper themes but may leave viewers feeling unsettled.
Compounding this issue is the portrayal of the characters themselves. Rather than being quirky or relatable, Wendy and Jon come across as clichéd figures striving to belong to an intellectual or artistic elite. Their pretensions create a barrier between them and the audience, making it difficult to empathise with their struggles. Furthermore, the characters are largely unlikeable; Lenny is depicted as a deeply unpleasant man whose past behaviour suggests he was not kind even before his mental decline. In contrast, Wendy emerges as a pathological liar while Jon is portrayed as a weakling who passively allows his Polish girlfriend to face deportation.
The film's redeeming quality lies in its acting performances, which are undeniably compelling and serve as its Oscar bait. Laura Linney and Philip Seymour Hoffman deliver exceptional portrayals of their complex characters, bringing depth to roles that could easily have been one-dimensional. Philip Bosco, a veteran character actor who appeared in many prominent 1980s and 1990s films, also deserves recognition for his role as Lenny Savage; his performance is particularly poignant given that it became his final film role. While The Savages is ultimately a disappointing and uncomfortable film, it is saved from complete obscurity by the exceptional talent of its cast.
RATING: 4/10 (+)
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