The film begins with the couple returning from Malcolm's film premiere, at which he failed to thank Marie in his speech, thus inciting an argument. It seems like an insignificant, even petty, thing to be arguing about but over the course of the film it becomes increasingly clear that the missed expression of gratitude is symptomatic of a much deeper problem.
The film is held up by the excellent performances of the only two people in it (although I kept getting distracted by the fact that John David Washington has the exact same voice as his father, Denzel - close your eyes and you'd think you were watching Training Day). Also, the cinematography is beautiful, making the most of the architecturally designed house that we're trapped in and showing Levinson's clear reverence for classic cinema. It makes the inescapable hell of a real-time relationship breakdown almost enjoyable - but not quite. This isn't an easy watch. I wanted the argument to be over after about 20 minutes and instead it went on for another hour and 20. There are peaks and troughs, lighter moments and tender moments, but the fighting is exhausting.
What I loved about the film, however, is its boldness. It's a film of its time. Made during the pandemic, it explores what can be done within the confines of Covid film-making: one location, two actors. I wonder how long it will be before we get to see a crowd scene on screen again? The cast and crew quarantined together on set for the duration of filming and Levinson wrote, shot and edited Malcolm & Marie within a matter of months, which is coincidentally about how long the argument feels. If Greg and I ever get into an argument this long and painful, I hope you never have to read about it.
HE SAW
I wanted to review hot new Korean film Minari but Zanna had her heart set on Malcolm & Marie. I believe it had something to do with her feelings toward actor John David Washington. "He's Denzel's son," she said, as if that would convince me, even though she knows I have zero interest in actors and even less in their lineage. What she wanted to say, what she was thinking, was: "He's fine as hell and I want to spend a night on the couch with that." She thinks I don't know her, but I do. Anyway, she got to spend the night on the couch with me.
I knew my purely aesthetic interest in Minari was no match for her largely erotic interest in Washington, and I calculated that saying: "No, I want to watch Minari" would be detrimental to my relationship. This is how relationships work, at least in my understanding, at least in my understanding of my one.
After writing the above paragraphs, I sent them to Zanna. "Before I go any further," I wrote, "is this okay?"
She replied: "Sure if that's what you think, but you're wrong. I'm more interested in Zendaya. I thought she was outstanding in Euphoria and I follow her on Insta. Washington's pretty hot but he's no Rege-Jean Page."
This infuriated me, because the only thing I hate more than being wrong is being told I'm wrong, particularly when I know I'm right. After googling Rege-Jean Page, who is fine as hell, I wrote back to Zanna: "Is that why everyone loves Bridgerton?" She replied: "Yep."
I was shocked by that. We had watched the first four episodes of Bridgerton and I had spent almost all of that time trying to figure out why it was so popular. I didn't hate it, but it felt like eating foam. I didn't understand that a broad swathe of the population was eating meat.
The difficulty we have figuring out what's going on in the heads of others, which is at the heart of Malcolm & Marie, is a big part of the reason life is so hard. Most of the time, we can't even figure out what's going on in our own heads. Given the inevitability of misunderstandings, the most important thing in a marriage, I guess, is being able to overcome them.
Zanna's next text to me came nine minutes later, from Bunnings. It read: "Couldn't figure out which was the right battery."
I knew exactly what she meant.
Malcolm & Marie is now streaming on Netflix.
