Up in the Air (2009, dir. Jason Reitman)
Starring George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman
I come to the table with a strong dislike of the work of Jason Reitman. I didn’t find Thank You For Smoking funny and reviled Juno like the swine flu. That said, Reitman had a lot to prove to me and I felt this film was his “last shot” before I wrote him off as a director who simply didn’t make the sort of movies I enjoy.
Based on the novel by Walter Kirn (he also wrote the wonderful Thumbsucker which was also adapted to the screen), the story follows Ryan Bingham (Clooney), a “career transition counselor”, or in plain english, the man your boss hires when he’s too scared to fire you himself. Bingham is at home in airports and first class seats. The entire process has evolved to an almost ritualistic state, and Bingham takes great pride in his impeccable ability to traverse and flow through the environment like water. The inevitable snag occurs when young upstart Natalie Keener (Kendrick) proposes a new video conferencing system to replace the face to face firings Bingham’s firm provides. Bingham is terrified that his entire life and soul is at stake and volunteers to take Keener on his route in an effort to prove that the face to face is an essential part of their job.
Reitman has begun to win me over. Gone is the smirking humor of Thank You For Smoking and the nails-on-chalkboard hip-speak of Juno. There are still traces of the director’s hand but it feels like a maturation has occurred. Bingham is developed quite organically from a simple pastiche of Clooney’s typical film persona and into a truly broken and incredibly pathetic man. Vera Farmiga plays Alex, a woman who refers to herself as just like Bingham “but with a vagina”. They meet in an airport bar and foreplay consists of showing off their voluminous elite status cards from luxury hotels and car rental services. Their relationship feels shallow and it is and how that relationship plays out was quite a surprise to me. There are a few beats in the film, involving the transformation of Bingham’s priorities and it feels like Reitman is taking us into heavily tread territory, but he completely reverses things in a very satisfying way.
The film is very much a product of contemporary events. Bingham’s firm is seeing a boon in business as the economy tanks. Bingham himself seems to be losing the assurance he normally feels in his job as he is contracted to fire an ever growing number of the workforce. The film comes across a bit heavy handed in some of these moments, particularly a ending montage sequence where real people who have been laid off in the last year talk directly to the camera about their feelings and reactions. While I thought they had good insight, the insertion of this into the film felt slightly pretentious. I think a documentary of said material would be a much more interesting venture though.
In the end, Reitman has duly impressed me. I went from having incredibly low expectations for his third film, to finding it to be enjoyable. I think his tempering and maturation as a filmmaker are very apparent, and I’m actually interested in what his next project will be.