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Posts Tagged ‘Man Up’

Frequent visitors may have noticed that I routinely refer to romantic comedy films as belonging to ‘the world’s most predictable genre’, and I occasionally wonder if I’m not doing them a disservice there. Sure, the outcome is never in doubt, but the same is true of virtually every other genre: in fact, you could probably argue that the very notion of genre carries with it a certain degree of predictability.

It may be I’m just letting my own personal prejudices show. Still, I try to keep an open mind, so I went to see Ben Palmer’s new film Man Up, mainly on the strength of a good trailer and the presence of the usually-reliable Simon Pegg. Despite being top-billed in a film which has, shall we say, an androcentric idiom as its title, Pegg is not playing the lead here: that duty goes to Lake Bell. Why is a film about a woman called Man Up? Join me on a strange journey where not all words mean what you might expect them to.

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Bell plays Nancy, a thirtysomething whose disastrous relationship history has left her on the verge of giving up on romance entirely. However, a chance encounter on a train and a misplaced self-help book result in her accidentally purloining a total stranger’s blind date. He is Jack (Pegg), and the two of them hit it off so well that Nancy can’t quite bring herself to own up to the misunderstanding, even though she is technically supposed to be going to her parents’ wedding anniversary party.

Needless to say, all does not go to plan, and unfortunate encounters with obsessive old school friends and embittered ex-spouses lead to more than a few ups and downs in the course of their evening together. It transpires that neither Nancy nor Jack is quite whom they are presenting themselves to be, but should they let that get in the way of the connection they so obviously share?

That’s a rhetorical question, obviously. On paper Man Up does look very much like yet another crack at the same rom-com formula which British production companies have been diligently hammering out variations on for over twenty years now: an appealing, largely metropolitan setting, imported American female lead, supporting cast of well-known faces, many of them off TV (Rory Kinnear, Sharon Horgan, Ken Stott and Harriet Walter do most of the heavy lifting here), a climactic dash to deliver an impassioned emotional declaration, and so on.

This is by no means a perfect movie, but it has more about it than just a tick-list of required components. For one thing, Lake Bell may be American, but not least of her achievements in Man Up is the way she employs an immaculate English accent. I must confess I’d never heard of Bell before this movie, but she seems to be one of those annoyingly talented people who’s good at everything. We are, of course, required to believe that a stunning ex-model should have severe self-doubt and finding-a-boyfriend issues, but this is practically a genre trope, and Bell puts across Nancy’s vulnerability well. I expect Bell has the kind of looks which are routinely described as ‘striking’ or ‘strong’: quite what this is code for I’m not entirely sure, but she is an extremely beautiful woman by any rational standard.

Bell also manages to share the screen with Simon Pegg for most of the movie without finding herself being acted off it, which is also no mean feat. I would say Pegg is part of an honourable tradition of British performers who aren’t just great comedians, but great actors too: all of Pegg’s best roles address the emotional frailty and humanity of his characters, an element he plays absolutely straight, and Man Up continues this. One of the appealing things about the film is that both lead characters are pretty messed up, spending as much time squabbling as they do being, you know, actually romantic. Like all the best films of this kind, it doesn’t operate solely in terms of chocolate-box romance, but explores darker territory as well. As a result, it genuinely earns its climactic emotional pay-off between the two leads. I would say that Pegg hasn’t has such an effective foil since Jessica Stevenson in Spaced, but that might just make Nick Frost annoyed with me (not to mention Tom Cruise).

On the other hand, if Man Up is honestly a ‘romance’, that’s another word the meaning of which seems to have shifted a bit of late. Again, I expect the producers would describe it as ‘frank’ or ‘authentically contemporary’, but what this actually means is that various characters spend a slightly surprising amount of time discussing oral sex in a reasonably detailed way. I couldn’t help thinking back to Four Weddings and a Funeral, when Hugh Grant’s saturation F-bombing in the opening sequence felt genuinely shocking – it now feels like the product of a different and much more innocent world.

But hey ho. Such is the world in which we live. As well as the above, Man Up also has an undeniable ingenious and sharp script with some genuinely witty dialogue, and it manages to juggle all the required genre elements with sufficient skill that they at least feel relatively fresh. Parts of the plot do strain credulity a bit – Rory Kinnear’s character in particular has an absurd, cartoonish quality –  and there is at least one over-laboured sight gag, but I laughed a lot all the way through and found myself genuinely wanting the two leads to get together. That, if nothing else, is the sign of a successful film, in this genre at least.

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