Listen Up Phillip

Director: Alex Ross Perry,  2015

Reviewed by Gail Spencer

As is the norm, Eureka! Is right on the money in giving us this delight of a film. Set in New York, it follows the lives of interconnected folk in the big city - all of whom are involved in some way in the creative industries (writing/PR/photography)with the central character, Phillip, played by Jason Schwartzman representing a budding novelist and his lot. So then, we are looking at a lot of intense introspection and observations about relationships. But this is NOT Woody Allen. This has far more wit and is sharper in its delivery methodology.

To a certain extent, it has no equal: like Dogville, the Lars Von Triers film, the narration come voice over accompanies the action/conversations in the film but does so with tongue in cheek reference to actual truth. The truth is inverted by both players and narration - whose job it is to provide some insight as to intent of characters but puts it across in a way which involves the audience in the delusions. What is being told in the narration is a version of what is going on, but so is the interpretation of realities as expressed by the characters. 

It is a very clever film and belongs up there with My Dinner With Andre as a small, indie gem that will resonate with intelligentsia, academia and the navel gazing in a way few films achieve but many attempt. It could and would translate well in French and is near to them emotionally as a quiet comedy of manners. Whilst the film is set in New York, the city itself is not made part of the cinematic landscape. In a quiet way it deals with ambition, disappointment (both romantic and vocational) the strains of city life, cultural stereotyping, the need for company and solitude, the creative impulse, disappointment with life and people, and the constant battle in art to consistently outdo your best and keep up with the creative Jones's. 

The central character though is not anywhere as interesting as Ike Zimmerman (played by an older, white haired Jonathan Pryce), the mentor/writer that Phillip has attached himself to - but is in no way trying to emulate. The narration begins with Phillip confronting a girlfriend of the past as he goes to meet her but she is 25 minutes late. His acerbic and nuts need to express every emotion and whim just as he experiences it manages to alienate his entire world: this is especially true of his decision to NOT go through the process of publicising his work and going through the marketing mill. Whilst all artists would probably agree to hating this aspect of their work, this fellow has the ego system to believe that his work can live without it. 

His raison d'etre is to berate those closest to him and has absolutely no emotional intelligence whatsoever: his girlfriend is as, if not more successful than he is but his belief that she will keep him in her life, regardless of the fact he spends considerable time out of it, is totally lost on him.  The version of himself he believes in is fed by Ike, who does often deliver the most misogynist sentiments, usually to his berating and beautiful daughter, Melanie (Krysten Ritter). One of the funniest segments is when the career of Ike is explained through an on screen retrospective of Ike and his works which includes a book entitled 'Women & Madness' and he explains to Philip whilst watching women walking around an academic faculty 'they will always want far more than we can ever give.' 

None of the characters are likeable, there is no one, or situation to root for, this never really matters - it’s the wit and humour which appeal and drive the film. There is also a consistent reminder of the writer's dependency on drink. Ike never stops hitting the 25 year old single malt whenever he starts to make a point. The clichés are there but are self knowingly put. 

Each character in turn has a perspective but this is not delivered in a way that has us believe that we need the component parts to complete perspectives or story. The character of Ashley, played by the appealing and talented Elizabeth Moss (Peggy in Mad Men) is easily the sanest and most grounded of them all - though in reality would have dumped Phillip at first sojourn (Phillip goes to Ike's country retreat for an entire summer). The dialogue is just superb and the entire works is carried by a gentle jazz score, which unlike Gershwin in Allen's Manhattan doesn't hit over the head with a 'this is New York' message. The score - like the architecture and attitudes, deal with New York very subtly.  

The only flaw is the sometimes irritating camera work: a party scene at Ike's retreat is very hard work (like watching the location establishing shots in NYPD Blue)which for the rest of the film is great (the focus on each character in close up to watch all nuances of emotion and thought) in this sequence feels busy. That aside this is a perfect film and all attempts should be made to see it and own it. 

In general release in the UK/Ireland from June 5th.