RACHEL GETTING MARRIED (Jonathan Demme, 2008, USA) — 9
At the New Republic, Christopher Orr says RACHEL GETTING MARRIED features
the most elaborately multi-culti Bobo wedding ever committed to celluloid, a festival of singing and dancing and costumery featuring Robyn Hitchcock, Sister Carol East, and a groom (TV on the Radio vocalist Tunde Adebimpe) who sings Neil Young’s ‘Unknown Legend’ to his bride at the altar.
Not only is he correct, but he really understates the point. Even if it were no good as a family-relationship drama, though it is, it REALLY is … RACHEL GETTING MARRIED works as a completely-unintentional parody of Connecticut Upper-Crust Secular Multicultural Awareness. I began mentally ticking things off: there are four “parents” on Rachel’s side of the family (the side the film focuses on); the marriage is inter-racial and this is never even alluded to in any form; every ethnic group is represented in this World’s Fair by Benneton wedding guest list (I had to stifle a giggle at the entry of the Latin America Booth in the form of samba-dancers dressed for Rio Carnival week and a short dumpy woman in Andean Indian garb); the bride announces she is pregnant during the weekend, and this results in unmitigated celebration; their religion is “Religion”: the wedding cake was decorated by Hindu elephants, the wedding outfits are Indian-style, the walls are decorated by Christian-looking icons but done in the Hindu style, and Kym (the film’s central character, played by Anne Hathaway) toasts “L’Chaim”; the marriage is not in a church or by any sort of minister and the couple wrote their own vows; they live in Stamford in a multi-storey home on a lot big enough to pitch a wedding tent in the yard; Kym drives an old-model Mercedes; rehab, psychology PhD’s, smoking-Nazism and fucking someone the day you meet him are all considered unremarkable.
A fellow film geek “twittered” me “why do I have a feeling RGM is gonna piss you off just because of the wedding alone?” He was correct in guessing that I detest these people in the abstract and I’d consider attending this wedding in real-life to be a purgatorial experience. But as for the film I didn’t mind all this stuff at all. Why should a portrayal of a slice of society you dislike not have signifiers of “Dislikability”? It’s not that any of these Bobo Signifiers is unbelievable or remarkable; few are morally significant per se. But the sheer amount of them makes displayed Boboism almost a structuring principle (a thing you notice and react to), and it starts to become funny — how much more Aware and Tolerant can they portray themselves. “Oh … there’s Rigoberta Menchu … Must. Not. Giggle.”