I’ve long been a fan of the work of Nancy Meyers. She knows exactly how to make her brand of films – they look fabulous, have top notch actors, splendid production values, and they favor character based stories in an effort to create something overtly entertaining with a minimal of fuss. Her films aren’t game-changers, but rather, comfortable pieces of storytelling that frequently delve into the sentimental and the romantic. She’s also interested in older protagonists, and is one of the only filmmakers consistently telling stories at the studio level about the 60+ set. And despite the fact that she’s a populist filmmaker, you can enjoy her films without feeling stupid afterwards (fine, she does tend to delve into sitcom-y territory every now and again). Her latest film, The Intern, is an extremely solid piece of craftsmanship, with a sensitive and highly effective performance from Robert De Niro at its center, with Anne Hathaway doing very strong work in one of her more engaging roles (she also looks great). Without overcomplicating matters with manufactured drama or unnecessary side developments, Meyers sticks to her core story, that of a 70 year old widower (De Niro) getting an internship at an e-commerce clothing company run by hot shot boss Hathaway, and allows her thoughtful screenplay to rightfully poke at the declining standards of the modern American male in ways that seem appropriately cutting and observant. Gorgeously shot by the great cinematographer Stephen Goldblatt (Meyers ALWAYS hires a premiere director of photography, just check the IMDB), The Intern is an optimistic film, with zero cynicism running through its warmhearted veins, and its central message is a strong one: Don’t forget about the past and the people who helped to shape the future.
There’s no contrived villain or lame plot device in the last act, but rather, Meyers allows her story to organically unfold, and while she’s always been prone to the neat and tidy ending, she allows for plenty of moments that reflect life’s messy possibilities; the worst character in this film is still operating from a believable and somewhat understandable position. Meyers has had an absurdly successful and prolific career as a screenwriter, producer and director; films that sport her name in some capacity include It’s Complicated, Something’s Gotta Give, What Women Want, The Holiday, The Parent Trap, Father of the Bride and its sequel, Baby Boom, Private Benjamin, Irreconcilable Differences, Protocol, Jumpin’ Jack Flash, and Once Upon a Crime. Her confidence as a filmmaker is never in question, and because she values a classical sense of mise en scene with shots that last more than seven seconds each, her films feel like throwbacks that still have modern touches; she can’t help but include a shot of hanging copper kitchen cooking pots and pans in each one of her directorial efforts. A $100,000 kitchen is her filmic signature in the way that a helicopter flying at sunset is the visual trademark of Michael Bay. And not that it should be any surprise, but De Niro is really damn good in The Intern, showing a gentle side without any forced or cheap mugging, playing the well intentioned guy who you just want to see come out on top. There’s a sense of professionalism every time you sit down to watch one of Meyers’ films, and with the Intern, she’s done some of her best work in a while. I’m not surprised that it quietly legged its way to $75 million domestic and close to $200 million worldwide during last holiday season, as it’s the sort of movie that people find in time, and one that many will enjoy.
Podcasting Them Softly 