Unlike the Europeans, Hollywood has never been comfortable with May-December romances. One film after another they throw the 50-something Daniel Auteuil into the arms of a 20-something babe without explanation or apology and we sit in the cinema never questioning the logic of it. When it comes to Hollywood, it is either a tragedy or a morality tale. Jack Nicholson can only be redeemed by settling for a woman near his age at the end of Something Has to Give.
Suburban Girl has an intelligent script that manages to sidestep such apologia. It also doesn't try to dilute the issue or make the motives of its main characters nobler than what they are. The December character (Alec Baldwin in excellent self-parodying mode) is a diabetic and recovering alcoholic. He is also a self-confessed womanizer and an absentee father with serious daughter issues. The May of the film (Sarah Michelle Gellar acting as if she is using the film as personal therapy) is a father-worshiper and has no qualms about allowing the older man to use his influence to better her career. It is all too real. It is a pity that Mark Klein directs the film like an afternoon romance for Hallmark channel without flair or imagination, and that Alec Baldwin's personal life interfered unnecessarily with the screening. The unevenness of the directorial treatment might alienate the mainstream audience that seem to prefer their comedies separate from their dramas. The script skilfully avoids the known clichés without taking too many risks. The sweet-sour ending will also add to the audience confusion.
Supporting roles are cleverly underplayed by a competent ensemble. Maggie Grace, one of the early casualties of the TV hit Lost, is surprisingly effective in a role that seems to have been written for her.
Suburban Girl has an intelligent script that manages to sidestep such apologia. It also doesn't try to dilute the issue or make the motives of its main characters nobler than what they are. The December character (Alec Baldwin in excellent self-parodying mode) is a diabetic and recovering alcoholic. He is also a self-confessed womanizer and an absentee father with serious daughter issues. The May of the film (Sarah Michelle Gellar acting as if she is using the film as personal therapy) is a father-worshiper and has no qualms about allowing the older man to use his influence to better her career. It is all too real. It is a pity that Mark Klein directs the film like an afternoon romance for Hallmark channel without flair or imagination, and that Alec Baldwin's personal life interfered unnecessarily with the screening. The unevenness of the directorial treatment might alienate the mainstream audience that seem to prefer their comedies separate from their dramas. The script skilfully avoids the known clichés without taking too many risks. The sweet-sour ending will also add to the audience confusion.
Supporting roles are cleverly underplayed by a competent ensemble. Maggie Grace, one of the early casualties of the TV hit Lost, is surprisingly effective in a role that seems to have been written for her.