REVIEW: The Humbling

11 05 2015

The HumblingImagine the script for “Birdman” fell into the hands of Woody Allen and then got made by a lesser director, and you essentially have what plays out in “The Humbling.”  Al Pacino, seemingly on a preemptive farewell tour, stars as Simon Axler, a self-absorbed chatterbox of a thespian who starts seeing his craft and the world a little too honestly.  Naturally, he cracks up.

But don’t worry, in the most Allenesque twist, the neurotic protagonist gets a salvo in the form of a friend’s younger daughter, Greta Gerwig’s Pegeen Mike Stapleford.  She reenters Simon’s frazzled life post-breakdown as a self-identified lesbian, but that does not last long as she finds herself seduced and destroyed by the sexual prowess of an older man that can “educate” her.

No matter what you think about Woody Allen’s off-screen relations with women of a certain age, he’s often able to present it as fairly normal in his films. (Or at the very least, it seems like a non-issue.)  In “The Humbling,” writers Buck Henry and Michal Zebede make the Pegeen and Simon relationship feel condescending, cocky, and perhaps even a little insensitive.

The film boasts any number of colorful characters parading across the screen, including Pegeen’s mother Carol, played with justified scorn by Dianne Wiest.  But director Barry Levinson never seems to orchestrate this circus well, leaving the brunt of our attention directed towards Pegeen and Simon’s core story.  Normally, drawing attention towards the centerpiece of the film would be a good thing, but it only compounds the problems for “The Humbling.”  C2stars

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