Redline Jack

Redline Jack

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The pain is burningly real, while the settings feel lived-in and appropriately muddied by experience. But somethingnbsp;just feels wrong aboutnbsp;the way that Emilia -- Natalie Portman's protagonist in Don Roos's mostly-sharp, sometimes-baffling comedy of manners -- escapes the consequences of her actions. She barks at children, bites the head off anybody who tries to offer help or reassurance, fumbles her way through stepmotherhood, and generally acts like the last person

you'd want to spend time around. There is a point here about the patience of love (romantic and platonic) and looking past the barbed surface, and it's solidly made, but it's hard not to feel like Emilia is ultimately getting off much easier than most people could, or should.

In Roos's adaptation of Ayelet Waldman's novel Love and Other Impossible Pursuits, Portman is assigned the unenviable task of playing a woman twisted up by grief to where her spirit seems to have taken on a gargoyle-like appearance. At first glance, Emilia looks like one of many slightly bored young second wives one might see trolling the Upper East Side without much purpose besides the indifferent raising of their husband's child. Picking up her stepson William (Charlie Tahan), Emilia plays the unrepentant home wrecker without much sincerity, pretending that the dagger-glares being hurled her way by the other mothers don't bother her.

The veneer starts to crack with William, a brainy and blurt-prone kid who's mostly innocent of his rudeness but also well-versed in his role as infiltrating soldier in the guerrilla war being waged between Emilia and her husband William's mother, Carolyn (Roos favorite Lisa Kudrow, zeroing in like a laser on her character's nervously militant dissatisfaction), whom he lives with. William asks her why they can't sell all the apartment's old baby stuff off on eBay, which has the effect of both pushing her buttons past the redline and also keying up the story's background tragedy, that of her infant girl who died when just a few days old.

A brisk flashback sequence brings us up to speed not only on how Emilia snatched Jack (Scott Cohen), a partner at the law firm where she was once a fresh-faced associate, but also on how her tunnel-vision selfishness didn't exactly start with her child's death. She has a pair of best friends, the semi-sassy redhead Mindy (Lauren Ambrose, mostly wasted) and the requisite understanding gay man ( "http://www.filmcritic.com/reviews/2005/rent/">Rent's Anthony Rapp, shining through in an underwritten small role), who don't get treated that well.

Emilia's frustrations with William are initially understandable, as he appears to channel all of his mother's lordly uptown snobbishness (denigrating Emilia for being from New Rochelle) and faddish-seeming food allergies. But Roos soon makes it clear that there are darker currents underneath Emilia's irritations. The knotted eruptions of rage in which Emilia lashes out at William, Jake, and pretty much everyone else in glaring distance are the only method she has by which to cope with the ache and the void.

Fortunately for the story, Roos in the main manages to both show that Emilia's pain is real and understandable but ultimately unsustainable. What begins as a light but spiky satire on the mores of the well-heeled urbanite, the kind who would rather chew glass than allow their children to attend a public school or ingest dairy, morphs eventually into a well-seasoned drama about loss. There's a tough kind of sympathy here welded to Roos's well-calibrated humor and his cast's all-around superb performances (particularly Kudrow and Tahan, whose off-kilter performance is some kind of grade-school homage to Steve Zahn's spacey-but-smart routine). Ross doesn't let Emilia get away with her behavior totally unscathed, but certainly pulls a few punches in the interest of keeping the darkness from overwhelming the comedy.

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