For a sentimental family dramedy that would be expected to have
few surprises, Ricki and the
Flash is actually full of
them. It's not in major twists of the plot; the "happily ever after"
course it charts is established right from the opening cover of Tom Petty's
"American Girl". The surprises come in the emotional depth of characters
we think we know, but prove to be far more. Certainly, it won't surprise anyone
to learn that Meryl Streep has once again taken a character and made it
completely hers; all the while proving that she's a pretty badass rocker, too.
Directed by Jonathan Demme in his first
narrative feature in six years, and penned with sharp wit by Diablo Cody (Young
Adult, Juno), Ricki and the Flash is part energetic concert movie,
and part feel-good story about rebuilt familial bonds. In only moments we have
an understanding of who Ricki is. Decked out in leather pants, her hair tightly
braided, and under a heavy dose of mascara, Ricki is rocker who clearly sees
Stevie Nicks as a stylistic influence. On stage with her crew as the house band
at a small California watering hole, Ricki is a big fish in a small pond,
entertaining a handful of drunken regulars who idolize the ground she walks on.
When she's not on stage her life is anything but glamorous. She can barely
cover rent on the meager pay she gets as a check-out girl at the Total Foods,
but she grits through the tough times with sheer force of attitude. Everything
about Ricki screams "fearless", however she's terrified to answer the
phone when she sees who it is from.
The call is coming from Indiana, which
means it's her ex-husband Peter (Kevin Kline), and when he tells Ricki that
their daughter Julie (Streep's real-life daughter Mamie Gummer) is in a deep
depression following a separation from her husband, it isn't long before she's
on the next plane home. But Ricki has a lot to contend with upon her return,
and this turns out to be one rocky reunion. Ricki completely left her family
behind to pursue her rock 'n roll dreams, and the resentment her children
(including sons played by Sebastian Stan and Nick Westrate) is palpable. A
dinner gathering goes awry with pent-up bitterness from all sides, and things
don't get any easier when the kids' stepmom Maureen (Audra McDonald), the woman
who raised Ricki's kids to adulthood, returns home and starts marking her
territory.
Undeniably heartfelt and earnest, Ricki and the Flash is the least "edgy" of
Cody's screenplays, and many of the family's troubles are skirted along fairly
easily. But when there are confrontations between them they turn out to be tough,
unflinching encounters that leave the participants scarred. The most powerful
of these is a tense showdown between Ricki and Maureen that doesn't necessarily
go in Ricki's favor. Cody doesn't shy away from Ricki's many flaws or try to
forgive her numerous mistakes as an absentee mother. That this is more of a
familiar mainstream effort from Cody doesn't take away from the feelings on
display, so those coming in expecting the same level of darkness seen in Young Adult should think again. This is more along
the light-hearted lines of Cody's last film, Paradise,
only with greater consistency of character.
Demme finds his groove in capturing the
feel of the live performances; not surprising for the director of multiple Neil
Young documentaries. He and Streep, along with Rick Springfield as Ricki's
guitarist and love interest, come alive at the energy of performing in front of
a crowd. The non-music scenes, on the other hand, lack Demme's fingerprint and
it's clear his focus is spotlighting Streep the musician. She doesn't need his
help when the music stops, but ultimately she doesn't really need his help on
stage, either. It's incredible to watch and to hear her, guitar in hand and
singing every song herself, including a brand new track written by Jenny Lewis.
Compared to Streep's Oscar-winning performances this one isn't quite as deep,
but it wouldn't be completely shocking if she wound up with one more
nomination. Also great is Kevin Kline as Ricki's playful and caring ex, who
clearly still has feelings for her. And Mamie Gummer is very good as the
self-destructive Julie. Gummer isn't quite as polished as her mom but she's
getting there, and the two of them together are fantastic. Put them with Kline
and you've got magic. Fortunately, there are plenty of chances to see them all
together.
There's a bit of a struggle as Demme tries
to get a handle on the tone, and for a brief stretch it's difficult to tell if
the film is meant to be seen as funny or considered as weighty, because there
are some serious issues at play. Some of this is alleviated by a string of
musical numbers, which are always entertaining covers of classic Springsteen,
U2, and more. But the sheer amount of stage performances prevents the film from
gaining a proper rhythm, and so we barely see Ricki make a connection with her
two sons. That detriment is clearly felt in the film's big wedding finale, a
dizzying contrivance that marches a happy ending right down the aisle.
There are so many wonderful characters and
so much great music that Ricki
and the Flash is bound to
have audiences leaving with a happy tune on their mind.
Rating: 3.5 out of 5
