Making his audience happy is what actor Jay Kelly is good at. Yet what about when it comes to his own happiness? Released on Netflix earlier this month, Noah Baumbach’s latest film (and co-written with Emily Mortimer), Jay Kelly, continues the trend of a prolific actor forced to reckon with his past choices and his adherence to his acting career over the last several decades. Jay Kelly (played by George Clooney) has wrapped up with his latest big picture, only his decision to reconnect with his youngest daughter going off to college proves to be more challenging than anticipated. In a quick turn of events, Jay decides to hop on a train through Europe with his entourage, including his manager Ron (Adam Sandler) and publicist Liz (Laura Dern), while reflecting back on significant moments in his life with his friends and family. While tender and humorous in scenes, Baumbach’s film misses the mark on piecing together a more thought-provoking and unique feature.
Reaching his 60’s, Jay Kelly has dedicated himself to acting in the film business. After shooting his upcoming project, he leans in towards reconnecting with the individuals in his life versus the masses. Anticipating quality time with his daughter Daisy (Grace Edwards) over the summer, she informs him that she’s venturing off to Europe with her friends, and dad is clearly not invited. Seeking an adventurous and budget-friendly trip, Daisy wishes for the exact opposite of her father’s lifestyle while she’s on vacation before starting college. After a semi-mental breakdown from reconnecting with a close friend he hasn’t seen since his twenties, Jay decides to catch a train through Europe with his final destination being Tuscany for a dedicated festival tribute. Utilizing the train’s various compartments to soul-search and reminisce on regretful experiences in his past (including his absenteeism to his oldest daughter Jessica, played by Riley Keough), the audience is watching scenarios unfold through the eyes of the now older and wiser Jay. While poignant, many of the past reflections come across as feeling trite and predictable in their nature.
Perhaps semi-autobiographical being in the film industry, Baumbach plays with the various ways in which careers tend to consume one’s personal life as well as the friction but fondness one has with their agents and partners. Clearly agitated and stressed by Jay’s sudden pivot to Europe versus attending a dress rehearsal for his next up and coming feature, selfless managers Ron and Liz are constantly on the phone juggling lawsuits, family matters and practical decisions. While professionalism is their role, the film also lends insight into the struggles that occur and the ways in which colleagues and friendship start to blur. Opening with a quote by Sylvia Plath, stating “[i]t’s a hell of a responsibility to be yourself. It’s easier to be somebody else or nobody at all” depicts the myriad ways actors hide their true selves in the public face, while battling continual personal remorse and self-discovery. If only Baumbach’s film dug a little deeper into nuanced vulnerability rather than convenient introspection, might it have made for a more moving film.
