Rachel Getting Married 1.0 stars

Rachel Getting Married movie poster

A sort of Rainbow Coalition wedding weekend: the father of the Jewish bride had remarried a black, the bride too is marrying a black (it might be noted that Sidney Lumet, the father of first-time scriptwriter Jenny Lumet, had remarried a black himself), and the theme of the wedding is inexplicably Indian. Director Jonathan Demme, striving for an improvisational feel, stages the goings-on with an almost Danish dishevelment: a hand-held camera in the grasp of an arm-weary cameraman. Anne Hathaway, as the bride’s just-out-of-rehab sister, a constant and tiresome threat of disruption (“She needs a lot of acknowledgment”), proves to be too actressy for the style; but Rosemarie DeWitt makes a fine impression as her well-behaved sister, and the conviviality of the gathering, with heavy representation from the cool cats of the music industry, is by and large believable and admirable. With Mather Zickel, Bill Irwin, Anna Deavere Smith, Tunde Adebimpe, and Debra Winger. 2008.

Duncan Shepherd

This movie is not currently in theaters.


meganhallinan Nov. 1, 2008 @ 6:52 p.m.

Anne Hathaway breaks out of her candy-coated shell and puts forth a powerful performance as a deeply-flawed drug addict who serves as the nexus of a family haunted by the demons of the past. The deceptively cheery title of this movie belies the utter seriousness of the plot- we entered the theater expecting romantic comedy, and walked out feeling like we were hit by a bus. The movie is good, albeit a little too drawn out during the extended wedding celebration scenes. It touches upon the idea that life is not always easy, and the inherent conflicts that reside within each family signal that not all things in life have resolution.


Cameron Feb. 7, 2009 @ 11:48 p.m.

I find it disturbing that Mr. Shepherd dedicates the first section his review to the ethnic details of the character's love lives. Mixed-race couplings are not of issue in the film or even addressed by any characters as a point of observation, and yet Shepherd obsesses over a couple of character's biracial relationships to the extent of even bringing up the race status of the screenwriter's parents. To what point?

This film’s plot revolves around a girl’s arrival at her sister’s wedding, where tenuous family relationships are strained by a childhood tragedy and the girl’s inability to cope with her demons. But I guess all that gets trumped by whomever ends up "marrying a black".


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