GREEK MOTHERS NEVER DIE
Writer/Director: Rachel Suissa
Languages: English
Running time: 2 hours, 5 Minutes
Cinematography: Angelica Perez-Castro
Distributed by: Gravitas Ventures
Starring: Carter Sirianni, Simon Rerolle, Abby Miner, and Rachel Suissa
I enjoy autobiographical, satirical, self-deprecating humor. This one in particular, in the 1st Act at least, reminds me a lot of the early films of Woody Allen and Albert Brooks. The production and the look and feel of it really have a Made In America 80s film filtering, along with its self-loathing dialogue patterning. When the jokes fling here, those sharp teeth also have a lot of Annie Hall or Manhattan-esque stings to them. Then there is a little bit of a supernatural feel, like that of a Stardust Memories or even Defending Your Life. I really relished in this nostalgic feel a lot here, even when this movie puts this feel into the rear view mirror.
What is apparent throughout, sharp wit aside, and veiled underneath is a nice, tender feeling of a movie with its heart on its sleeve. I think Rachel Suissa's writing is stellar here. I love how everyone really leans into and pushes their caricatures; it sells a lot of the humor and ironically a lot of the tenderness too.
I love the slick, nice twist and turn this movie takes around 40 minutes in, and how it homages romantic comedies while simultaneously also sticks it to them in a sense. Again, great writing, but this is also where you get some of the best glimpses of nice performances from both Abby Miner and Simon Rerolle. There is a bit of a settling in process here for both, but when this movie turns, it is almost like a role reversal. I think both actors find a lot to play with in the interesting dichotomy that shifts the power dynamic here. Meanwhile, as the obvious homages just start to be more prominent, this pseudo-subtextual element of the role reversal becomes the most fascinating aspect to me.
Sophia Sutton also does a lot of great scene-stealing for me here. Again there is a tad nostalgic feel to her character, almost like a Styles from Teen Wolf (80s movie version not TV Show) or more recent Gigi from Booksmart. She also has a swift shift in an interesting moment of clarity in being a best friend to Ella.
I know there are specific homages paid here, like Mama Mia, and the obvious My Big Fat Greek Wedding, and toward the middle of the 3rd act the 80s nostalgia does tend to fade and favor these more conventional, obvious homages, but still I like how this movie seems to have many phases to it and they blend in naturally with the pacing of the story.
I also liked how the one thing that bothered me kind of goes away, and that's the expositionary voice-over. It's a tad much at the beginning. I know it may not bother most people, but I personally just rather observe and understand the background and the story through what I see and give it my own interpretation. A lot of it, in my humble opinion, becomes unnecessary, and yet in my own hypocritical oath here, there is a great moment when Ella first realizes what and with whom she is saddled, that utilizes the inner monologue aspect of this well. So I guess I have to take the good with the bad when it comes to this aspect.
Honestly, it is a small critique anyway. There is also a bit I can say about the length. Not going to lie, I felt it a couple of times. Nothing egregious, but as the tone shifts a lot, that can be hard if you are into one part of it over another. I will say to its credit, it only lasts a moment or two, and wins you back quicker than it tries to lose you. For that, I think most will not even be cognisant of it.
Ultimately, this movie entertains well, it shows a lot of promise, and it hits notes for those of us with a nice frame of reference for something to compare it to, while being unique enough to be its own thing. I think it has several different type of audiences it wins over, and at certain points. So I think its well worth a look if you are looking for a good Mother's Day romp.
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