4 stars (out of four)
There’s a sense of exhilaration that comes with independence. Moving at your own pace, doing what you want to do, setting goals and accomplishing them without the help of others. Being on your own might be the only way to truly learn about yourself, to find your identity underneath the mess of personal, social, business and all other relationships. This philosophy is one shared by Ryan Bingham, whose motivational speeches encourage attendees to imagine their life in a backpack. The fewer things and people in the backpack, the faster you move. But there’s a blurred line between independence and loneliness not addressed in Bingham’s speech, and it is this line that Up in the Air examines.
Ryan Bingham, played with characteristic cockiness (or is it charm?) by George Clooney, works for a company that serves as the middleman for corporations across the country who seek to lay off their employees. Men and women like Bingham meet with the soon-to-be-terminated employees, inform them of their company’s decision and present them with a self-help packet of new opportunities available in life after the pink slip. Bingham has perfected his job to an art. He enjoys it. He loves the constant movement of traveling, informing us that he’s on the road over 300 days a year, and he’s a great talker. Bingham, from his brutal profession to his self-isolating ideology, has all the components of an immensely unlikable character, and yet we’re drawn to him, even admiring him for his calculated efficiency. Clooney’s casting is key and without it, the humorous asides, the self-congratulation and all of Bingham’s narration would fall flat. Director Jason Reitman understands the importance of casting a charming actor as his unlikable protagonist. Aaron Eckhart’s performance as a tobacco lobbyist in Reitman’s 2006 film, Thank You For Smoking, succeeds in making an otherwise despicable man a delight. Clooney’s performance isn’t anything new for him as an actor – Clooney knows a thing or two about turning up the charm – but the script allows for a more complex characterization than Danny Ocean. There’s truth in Bingham’s motivational speeches, but there’s more to him than his lecturing lets on.
These hidden layers start to reveal themselves with the help of Bingham’s two foils: Alex Goran (Vera Farmiga), a fellow corporate travel addict who presents the possibility to Bingham of finding a soulmate, and young Natalie Keener (Anna Kendrick), a new employee at the company who steps on Bingham’s toes by suggesting the company go online to cut travel costs. Farmiga, whose fine performance in The Departed was overshadowed by that film’s stars, exudes a cool confidence in her early scenes with Clooney and gradually reveals real compassion. She brings more to the table than simply being the romantic interest by creating an honest portrayal of a businesswoman closing in on middle aged. Kendrick plays Natalie just under a caricature, balancing her ruthlessness with romantic naiveté as Bingham takes her under his wing to show her the ropes of the business. Jason Bateman proves himself reliable as always in a supporting role as Bingham’s boss, and character actors J.K. Simmons and Zach Galifianakis have memorable cameos as well in a scene apiece.
Much of the film’s success comes from Reitman’s style as a director. Every stylistic choice he makes enriches the themes and characters. He uses quick cuts as Bingham explains the packing process to emphasize his efficiency and moves the movie along at a brisk pace without sacrificing more tender scenes. Too often so-called “dramadies,” such as Up in the Air, treat the tone of a scene as falling in either the comedy camp or drama, and they lurch back and forth between the two genres until the movie ends. Reitman, however, understands the need to show how the two tones intertwine, crafting moments that are simultaneously humorous and poignant.
The film also makes good use of its soundtrack, using pop songs to underscore themes of travel and isolation. The opening title sequence, for example, pairs aerial photos with Sharon Jones and the Dap-Kings’ funkified version of “This Land Is Your Land” as a way of introducing Bingham’s pioneer attitude while providing an ironic introduction to corporate America’s industrialized land.
Some might argue that the film’s theme of downsizing and its topical references to a poor economic climate might keep the film from attaining a timeless status, but its emotional core remains the primary focus. Reitman creates a dialogue between Bingham’s backpack philosophy and the more romantic belief in the importance of building an emotional connection with another person. Up in the Air successfully gives us a capsule of our moment in time and shows us the humanity of it. And isn’t that what all films should do?
- Steve Avigliano, 12/30/09
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