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SOUND OFF: The First Five Things You Need To Know About THE LAST FIVE YEARS Movie

By: Feb. 13, 2015
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Today we are reviewing the hotly anticipated feature film adaptation of THE LAST FIVE YEARS, starring Jeremy Jordan and Anna Kendrick, now available nationwide on VOD and in select cinemas.

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The Next Ten Minutes

5. Richard LaGravenese. The ultimate coup in bringing Jason Robert Brown's intimate two-character Off-Broadway musical to the silver screen was and is exactly that - making it happen. The simple fact that LaGravenese translated the character rich and emotionally complex musical to the screen in such a vital, entrancing and vivid manner only adds to the acclaim more than merely warranted by a film this fresh, dynamic and alive. Clearly, as LaGravenese told me himself in our extensive InDepth InterView all about the film (available here), this was a passion project for the respected director and screenwriter, yet the fact that each and every frame is bursting with so much love, life and luster brings the entire enterprise to the next level. Could this be one of the most idiosyncratic movie musicals ever made? Undoubtedly. Is it one of the most applicable of all movie musicals to a 2015 audience, as well? Unquestionably. But, is it one of the best movie musicals of the 21st century? Yes, yes - that, too. Maybe ever. A breathtaking directorial achievement with two ideal actors married to parts absolutely indelibly played by each and brought to a whole other plateau by LaGravense's sensitive, spirited and specific direction. On top of all of that, the score is rendered exquisitely well - and as approachable and appealing as Brown's songs are, they are not necessarily the easiest material in the world to pull off; certainly not with the ample panache and palpable ferocity exhibited by both of the actors and the overall mise en scene of the cinematic experience as it exists. Terrific.

4. Jason Robert Brown. Billy Joel, Stephen Sondheim and more subdued influences are apparent in many moments of Brown's rightfully vaunted and almost unanimously acclaimed score for the stage musical, but the fact that Brown's verbiage and musical language both work so well onscreen - at least as played by these spectacular actors and in this very idiosyncratic manner as rendered by LaGravenese - and come across so effortlessly and seamlessly is a true credit to his strengths as a dramatist, first and foremost. Of course, Kendrick and Jordan are endlessly enjoyable performers to begin with, but joined with a score this superlative in its depth, wit, heart, soul and breadth only compounds matters - the score simply sparkles and the new orchestrations are exultant. An exceptional feat has been achieved by making it all appear so seamless and easy - it undoubtedly was no small feat to do so. Brown himself related to me in our InDepth InterView (available here) his satisfaction with the film and it is stunning to now witness his pet project fully realized in cinematic terms. Credit where credit is due - this is the man who is wholly responsible for this masterpiece of a musical even existing, let alone cautiously collaborating as he has with LaGravenese, Jordan and Kendrick in knocking it all straight out of the park. From the painful, powerful "Still Hurting" and the juxtaposition of the rollicking and rocking "Shiksa Goddess" through to the epic duet at the wedding - the sole shared song sequence (the opening and closing songs are really mash-ups in form and function, more or less, after all), "The Next Ten Minutes" - and, of course, the chilling coda all cumulatively create an entire musical, lyrical, dramatic and thematic world that becomes fully tangible when experienced in this singular film universe that has been conjured up for us all to enjoy. And enjoy we certainly will - again and again and again and again.

3. Anna Kendrick. What hasn't Anna Kendrick done this year? Besides conquering Stephen Sondheim and James Lapine's beloved iteration of Cinderella as seen in Disney's smash hit film adaptation of family-friendly fairy tale musical INTO THE WOODS, she now commands considerable attention for one more movie musical turn to beat the band - and break the heart. Truly, Cathy is a troublesome role for any actress to take on, perilously toeing the line between quirky, pitiable and unlikable - especially given the fact that we are meant to immediately empathize with her character post-break-up given the central alternating timelines of the tale as it is strikingly told. It is due to Kendrick's smart and sassy demeanor off-screen that she can make Cathy seem this desperate, dynamic and ultimately relatable with the dramatic deck stacked against her from the outset. Plus, "A Summer In Ohio" is the surefire comedic highlight of the surprisingly effervescent and fun film, which bolsters her overall appeal. Lest we forget, the story does not have a happy ending - as Kendrick establishes from her very first moments onscreen. Attention must be paid - and credit where credit is due.

2. Jeremy Jordan. The biggest Broadway breakout star of the last several years, Jeremy Jordan faces unenviable comparisons with another of Broadway's best leading men given the fact that two-time Tony Award-winning superstar Norbert Leo Butz established himself as an actor of considerable weight and a master musical theatre interpreter with the role of successful but selfish writer Jamie in the original Off-Broadway production co-starring Sherie Rene Scott (who thankfully cameos). But, after his first few moments onscreen with the instant earworm and slightly SEX & THE CITY theme song-esque "Shiksa Goddess" we are under his spell. It is particularly instructive to note Jordan's intentions for playing the character as originally spelled out in our InDepth InterView (available here) shortly before filming began - especially now that we can see the spine-tingling final product in its full, unadulterated glory. Magnetism, charisma and machismo to spare, Jordan makes Jamie a fascinating creature. Although the character himself may not be the best guy in the universe, Jordan damn well makes his plight seem generally all right given the depiction of the relationship as it dissolves - and deteriorates completely by the close. "Moving Too Fast" is yet another highlight - one of the bigger production numbers and also one of the most radio-ready tunes in the awe-inspiringly rich and rewarding score. Then, "The Schmuel Song" takes it all up a notch to musical theatre nirvana - Judy Garland in A STAR IS BORN is about the best movie musical imaginable (Stephen Sondheim himself has cited it as a favorite, as a matter of fact) and even Judy would be proud of a performance this stupendous. Hyperbole? Watch, listen, learn - and love.

1. Everything combined. What more can be said? THE LAST FIVE YEARS movie is as good an adaptation of the stage musical as anybody could ever wish or hope for - actually, it's better. LaGravenese and Brown have opened it up in a way that gives the characters space to shine, the songs room to breath, the story tremendous territory to expand - what breathtaking shots of NYC alone - and a carefully constructed and no doubt painstakingly edited sheen that allows each moment to land with poise, purpose and plosive power. Plus, the cinematography and staging expertly emphasize the intense intimacy of the material to maximum effect. A sagely wise choice. From the height of comedy in "A Summer In Ohio" and "Moving Too Fast" to the dark nights of the soul inherent in "Nobody Needs To Know" and "Still Hurting", the emotional depth and actorly commitment to these titanic parts is truly brilliant. Bold, bright, beautiful and absorbing, THE LAST FIVE YEARS movie is as good as movie musicals ever get and a riveting tour de force of epic proportions for all of the creative team members and both exceptional leading actors involved. Masterpiece? Must-see? Both. Better. No - best.




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