We e k e n d
At Julie’s Cinémoi reviews Julie Delpy’s comic-sequel 2 Days in New York; an ode to the films of Woody Allen but with a comic voice of its own.
2 Days in New York is in cinemas 18 May
Words by Jack Jones
By returning to her successful comic characters and material from 2 Days in Paris, Julie Delpy was always in danger of repeating herself. But with astute casting choices and an irresistably wicked writing style, Delpy has produced that rare feat when a sequel is better than the original. Funnier and far less disenchanting than the over-worked neurotic humour of its predecessor, 2 Days in New York is by far one of the best comedies we’ve had in some time.
“2 Days in New
York feels as if it is an ode to Woody Allen, not
Following on from somewhat from Paris, French born photographer Marion (Delpy) is back in New York but has separated from her neurotic bordering on psychotic - boyfriend Jack (Adam Goldberg) and is currently in a happy and fulfilling relationship with radio show host Mingus (Chris Rock). The keyword there being ‘currently’. But When Marion’s eccentric father, sexobsessed sister and her idiotic boyfriend come to visit, mayhem ensues and pushes the couple to the edge of despair.
as some would
Softer round the edges than Paris, crucially New York isn’t too gawky and saccharine when it comes to its romantic centre. Here, Delpy’s Marion is at a different stage in her life and has had a child from her relationship with Jack. Her new partner Mingus also has a child from a previous, failed, marriage and has soothed some of her anxieties about relationships. Something that is still a minefield, however, is sex and their sex lives.
have you believe”
And here arrives the inevitable comparison to the comedy of Woody Allen. Though many will no doubt make the comparison to Allen’s unique
a cheap, knockoff, imitation
and immediately recognisable style, as writer, director, editor and actress, Julie Delpy clearly wants to welcome the comparison. New York feels as if it is an ode to Woody Allen - at one point in flashback, Delpy’s Marion wears the iconic black rimmed glasses that have become part of his persona - not a cheap, knock-off, imitation as some would have you believe. Worryingly, the film opens with a puppet performed prologue that sends thoughts that Delpy has adapted the same self-important drivel as some of Wes Anderson’s less impressive work. Fortunately, Delpy has pieced together a comedy that has none of that style, preferring a quick-fire of gags and farcical situations that certainly offer bang for your buck. The return of Marion’s father Jeannot (played by Delpy’s real life father), sister Rose (played by co-writer Alexia Landeau and deluded half-wit Manu (Alexandre Nahon) from Paris isn’t in the vain of the laziness of some of the Carry On... films, with characters returning to regurgitate the same jokes, just in a different location. Even Daniel Brühl makes a ludicrous enough cameoif you can spot him - to warrant his presence.
A pointless ‘get the old band back together’ exercise this is not. A welcome addition is Chris Rock who flexes his impressive comic muscles to great effect. Therefore begging the question; why exactly do we see him in so many bad movies? Laziness? As the welcoming, but quickly baffled, Mingus, Rock perfectly executes his character’s bewilderment at the insanity of Marion’s family. Other high points include Mingus’ running monologue with a cardboard cut out of Barack Obama which acts as a sort of therapy to all the chaos. Even though the film has little narrative structure, preferring a more flippant style of navigating from scene to scene, the weight of each sharply written joke - mostly based on a mistranslation type of comedy - is more than enough to carry the film. But most of all, Delpy adds a subtle and personal touch about the death of her mother. Amongst all the mayhem is a heart. Just remember, when you think your relationship is going swimmingly, wait until you’ve met the in-laws. Especially if they’re French.