Screen Scene: "Friends with Money"

“Friends with Money” Directed by Nicole
Holofcener Sony Picture Classics

Imagine a 90-minute episode of “Sex and the City.”
Except the city is in the hills of Los Angeles, and the sex is far
less fun. Instead of Carrie Bradshaw, you have Olivia, a pothead
maid who, much like Carrie, just can’t seem to find the right
guy. And her three best girlfriends? Three wealthy middle-aged
women in various states of family dysfunction.

Written and directed by Nicole Holofcener ““ who directed
several episodes of “Sex and the City,” among other
television shows ““ “Friends with Money” attempts
to delve into the facets of inanely tumultuous human relationships
but never quite reaches deep enough.

Jennifer Aniston plays Olivia with refreshing nonchalance. It is
implied that the root of her indifference lies in her failed love
life, and Olivia’s current dating luck is frustrating at
best, repulsive at worst. However, though Aniston’s
increasing versatility of film roles is admirable, her abilities as
a romantic comedienne still overshadow her attempt to develop
multi-faceted characters as an edgier dramatic actress. What
Aniston maintained in “The Good Girl” ““ a sense
of hopeless romanticism ““ is lost in Olivia. Olivia is
clearly pathetic, but she draws no pity, keeping the audience from
becoming emotionally attached.

While Olivia apparently struggles for spare cash, her closest
friends are among the wealthiest women of West Los Angeles. Franny,
played with dignity by Joan Cusack, is a woman of family money and
a caring stay-at-home mother. Christine (Catherine Keener) is a
successful screenwriter, struggling mother and overly emotional
wife. Frances McDormand’s Jane is a famed clothes designer
who questions the purpose of living come middle age.

All three women, especially McDormand, shine as they beg
questions of death, happiness and charity in lives run by money.
The actresses’ differing mannerisms breathe life into the
upper-class L.A. woman. And as a supporting cast, the men of the
film also expose the dichotomy between the superficial absurdity
and underlying humanity of the wealthy.

Though the cast is entertaining and the script often witty, the
film itself never reaches its potential. It is an astute
observation of failed happiness and human awkwardness. Yet, it is
only an observation. The film leaves all the interpretation to the
viewer, claiming to be a realistic portrait but failing to ever
make a discernible statement.

The opening night selection of this year’s Sundance Film
Festival, “Friends With Money” is character-driven like
many independent works, and the myriad of subtly psychotic
characters is certainly the film’s greatest strength.
However, the lack of plot is noticeable in Holofcener’s
inability to establish a train of thought ““ there is no
climax or sense of closure. The ending is bittersweet: We’re
done with what’s been presented, but we still want more.

And maybe that’s the point. Maybe we’ll never know.
Maybe satisfaction is overrated.

Or so says Carrie Bradshaw.

““ Devon Dickau