George Clooney plays a disillusioned actor longing for genuine connection in the newest film from Noah Baumbach.
George Clooney is one of the most recognizable movie stars in Hollywood not only for his prolific filmography, but also for the philanthropy work he does with his international human rights lawyer Alma, as well as his Casamigos tequila brand. Clooney has been one of the few actors to successfully find a balance between a relatively standard family life along with the hectic, demanding lifestyle that comes with working as an actor in Hollywood, but it’s a fair bet he’s crossed paths with actors who have tried and failed to achieve something similar for one reason or another; and that understanding is what makes Jay Kelly, his collaboration with co-writer and director Noah Baumbach, one of the most poignant watches of this award season.
George Clooney stars as the titular fictional actor who feels emotionally empty upon wrapping production on his latest film; yearning to take his youngest daughter Daisy (Grace Edwards) on a trip before she leaves for college, but she refuses, electing to spend more time with her friends. Meanwhile, the only allies Jay Kelly has are his publicist Liz (Laura Dern) and manager Ron Sukenick (Adam Sandler), who soon after breaks the news to Jay that Peter Schneider (Jim Broadbent), the director who gave Jay his start in Hollywood, has passed away.
This development spirals Jay further into disillusionment, to the point where an innocent meeting with an old acting friend Timothy (Billy Crudup) opens old wounds and turns into an explosion of violence. With the story of this altercation due to hit the news cycle any minute, and Jay’s desire for a genuine human connection reaching a mental zenith, Ron, Liz and the rest of his entourage end up tailing Jay as he decides to accept a lifetime achievement award in his honor at a ceremony in Tuscany, Italy with the intent of forming a real connection with Daisy before it’s too late, reflecting on broken relationships such as one with his eldest daughter Jessica (Riley Keough), and other pivotal moments from his life along the way.
Jay Kelly is driven by phenomenal performances from its entire ensemble cast, and George Clooney leads the way as he wears Jay’s internal sadness and frustration through his facial expressions over the course of the film, and implores his daughters with a remorseful tenderness on his quest to finally put them before himself. Meanwhile, his manager Ron is on a similar but more professional path of learning to put himself and his family before Jay, confronting his regrets, past romantic pursuits, and even failures in his career, and the subtleties Sandler uses in some of Ron’s most heartbreaking experiences communicate his inner crushing disappointment as well as a measured reserve in one of the best performances of his career.
Noah Baumbach has been unflinching in telling stories about unhappy, occasionally unlikable characters throughout his career, and the script for Jay Kelly, which he co-wrote with actor Emily Mortimer, is humorous in all the appropriate moments. However, it also portrays the problems of the rich, famous and miserable in a manner full of sympathy without resorting to cliches. Together, Baumbach and Mortimer lay out the harsh, honest truth that one has to be a workaholic if they want to make it in the film industry, in addition to the emotional toll of a lifetime of hurtful choices attached to the cutthroat nature of Hollywood, summarized by flashbacks which detail the precise moments when Jay’s most important relationships became strained.
But the inner melancholy of celebrities and their closest confidants is brilliantly countered by the gorgeous locations to which Jay Kelly traverses, whether it’s the tennis court at a Los Angeles country club or a lavish dinner party at the top of a castle in Tuscany, while Baumbach’s latest is also peppered with welcome, well-performed cameos from contemporary stars like Patrick Wilson and seasoned veterans including Stacy Keach. The film also sounds wonderful thanks to a beautiful, sweeping score from Nicholas Britell, whose trademark chamber music only has a select few players, yet still replicates the grandeur of a full symphony orchestra.
As compelling and moving as Jay Kelly is, the film could have used intervention from more characters than just Jay’s daughters and father. It’s easy to wonder where his ex-wives are while the narrative of this film is going on, and what happened to end those marriages, but their perspective is sorely missing. It’s also worth noting that while the very end of the film adds a sentimental punch, it could feel self-serving for some viewers, given its playing out like George Clooney patting himself on the back for a career well managed.
But understanding that Baumbach himself is trying to unlock the secret to a happy, fulfilling life as a filmmaker and family man in Hollywood upon his marriage to actress Greta Gerwig, and knowing Clooney is one of the actors to pull that off himself is important to comprehending the thesis statement to Baumbach’s latest: one’s favorite actors and directors are larger-than-life figures that connect to everyday people in a special way, and with that comes unimaginable vulnerabilities and humanity. It’s a cautionary tale told with honesty and tenderness, and that unique concoction makes Jay Kelly one of the best films of the year.