Review: How Do You Know

I see a ton of films every year. I like to think of myself as a filmgoer with very diverse tastes and if signs point to something intriguing or enjoyable then I’ll go for a western, an action film, a drama, you name it. One genre that I’m (not entirely without reason) rather averse to is the romantic comedy. This is not due to me hating “chick flicks” or romance; it’s simply that the state of the modern American romantic comedy seems to be bogged down in formula and predictability. While things like “The Proposal” and “27 Dresses” might, on balance, be no worse than things like “The A-Team” and “Faster”, it would take exceptionally strong critical notices or friend recommendations to get me to watch most romantic comedies.

Which brings us to “How Do You Know”, the latest offering from James L. Brooks. The trailer did nothing to appeal to me, looking like yet another stock romance from the Hollywood machine. Its middling (leaning negative) critical notices and bad reception from some close to me (“It’s one of the worst films I’ve ever seen” remarked a family friend) had convinced me to never waste my time on it. Let this be a lesson: Never write a film off entirely until you’ve seen it, as I found HDYK to be a delight almost from start to finish, with smart writing and strong performances from everyone involved.

The premise for HDYK is rather standard: a woman (Reese Witherspoon) is suddenly forced to reevaluate her life and finds herself torn between two romantic options: A rich womanizing jock type (Owen Wilson) and a neurotic but boundlessly nice guy (Paul Rudd). That sounds like a typical setup, but within the confines of the plot the film holds many surprises. The main strength is Brooks’ writing, which lends each of the characters dialogue that, while certainly not naturalistic, rings true to the characters and is often exceedingly witty. It recalled for me the dialogue from Billy Wilder’s The Apartment (a vastly superior film, but the apt for comparison); it’s not the way real people talk, but only slightly stylized. Brooks’ characterizations are so strong that it turns weaknesses into strengths. The film’s structure is rather shaggy and early scenes seemed in need of an editor. As the characters develop, however, it becomes a pleasure just to watch them interact in a given scene, with conversations seeming to have a delightfully spontaneous quality. Characters who seem in the early going to be superfluous end up adding color to the proceedings. Overall the film’s chief delight is how it takes these rote or familiar elements and invigorates them with humor and intelligence.

The performances are also excellent across the board. Reese Witherspoon navigates the uncertainty of her character perfectly, portraying a woman whose life has been thrown into disarray with charm and confidence. Owen Wilson takes the most two-dimensional role in the film and infuses it with his laid back demeanor that manages to endear you to him rather than repel. His character is one that genuinely wants to change his ways and mature, but seems uncertain of how to go about doing that. It’s a loose and funny performance that reveals unexpected poignancy by the end. Special mention must be made of Paul Rudd. He is an actor that has had many good supporting roles, but has struggled to find the right fit for him as a leading man in Hollywood. Well this is it, as he is the film’s heart and soul. There is a “first date” sequence between him and Witherspoon where he conveys, solely through his facial expressions, more depth and insight into his character than lesser actors could with pages of dialogue. And Jack Nicholson, having long since settled into “paycheck mode”, seems to relish his snarky, devilish old man role that could so easily be overplayed. He and Rudd have some of the best and most affecting scenes in the entire film.

I don’t mean to oversell HDYK. It certainly isn’t perfect, with some of the subplots not being concluded satisfactorily as well as the aforementioned shaggy structure. But whether it was my lowered expectations or some other explanation, HDYK really took me by surprise and stood out even in this crowded holiday season of Oscar bait and big budget spectacles. So don’t let the bad press and poor box-office performance fool you, this is an unexpected winner and the best romantic comedy of 2010. Flaws and all, this is one I look forward to revisiting. After all, a low-key success is still a success.