the intern movie analysis

But the movie was a lot funnier and sharper. These films have not always fared as well with critics as they have with audiences, and you can expect the same divided response to her latest feel-good comedy, The Intern. Hathaway plays Jules, founder-in-chief of a booming fashion startup called About the Fit, and she is essentially both main characters from The Devil Wears Prada in one off-the-rack ensemble. For all your intelligence, energy, originality, strength of character, and overt cheerfulness, you risk becoming a black hole of self-defeating negativity. She’s sufficiently self-critical at work to believe that she could benefit from the corporate equivalent of adult supervision; and she’s sufficiently self-critical at home to think that relief from the pressure of a demanding job might improve her marriage. Meyers, herself the insider’s insider, puts the moral, emotional, and social tools for a serious young woman’s continued success—the lessons in independence and, not incidentally, in feminism that Jules needs—in the mouth of the man in the gray flannel suit. Robert De Niro fixes up Anne Hathaway's life in this utterly unconvincing office fantasy from Nancy Meyers. At this crossroads, Ben arrives to help Jules face these problems—and the character of Ben, and the illusions that Meyers creates him with, are the irresistible aspects of the fantasy that Meyers is selling. But the stringent standards that you set for yourself makes you self-critical and self-doubting, unduly insecure—and therefore needy, fast to take the mildest criticism to heart and redouble it, to receive it as a wounding blow and a definitive rejection. 12 Entrepreneurial Lessons From The Movie: The Intern Published on January 7, 2016 January 7, 2016 • 12 Likes • 4 Comments Ben doesn’t sweep up the damsel like Daniel Day-Lewis in “The Last of the Mohicans,” but he proves more than up to the task. Production designer: Kristi Zea So far, so good, and the supporting cast is also appealing, even if some of their roles are very thinly written. He’s been given a romantic interest in Rene Russo (wonderful, as always), who’s a more age-appropriate mate than Hathaway. But what Jules needs—and what Meyers provides for her—is a man who, unthreateningly, unambiguously, unselfishly bears the wisdom of that experience without its guilt, who fought the wars not as they were on the ground but as they were depicted in the press releases—or in the movies—in the pre-Aquarian movies of unequivocal public virtue. This film bears a resemblance to Baby Boom, a 1987 film co-written by Meyers and her former partner, Charles Shyer. This film proves how political correctness can damage a movie. The crucial fantasy of “The Intern” isn’t the emotional bond between the generations but the reconciliation and constructive unity of two conflicting business styles—the lifelong company man and the disruptive entrepreneurial free spirit. Looking for purpose in his lonely life, he signs on to a Senior Citizen intern programme, which is how Jules – unhappily, at first – finds him shadowing her daily comings and goings, and chafing at the bit for something to do. In that picture, Diane Keaton was … “I hate to be the feminist here,” he pipes up at one point, managing a kind of interject-mansplain combo attack she doesn’t so much as blink at. Here, older women have nothing much to say for themselves, and are regularly wheeled on as little more than punchlines – like the one female contemporary of Ben’s in the intern scheme, played by Celia Weston, who is characterised solely by being a mumsy busybody and atrocious driver. What Ben can best do for Jules is to help her lose her inhibition about exercising power, about running her company like its visionary founder and not seeking permission to do so. Baby Boom made the point that a demanding career can hurt the personal lives of women, as well as men. She’s always engaging and keeps the character on a human rather than superhuman scale. 1. They even gratefully agree to share burial plots, which among all of this film’s cosily weird moments is perhaps the weirdest. Executive producer: Celia D. Costas Stephen Farber Use of this site constitutes acceptance of our User Agreement (updated 1/1/20) and Privacy Policy and Cookie Statement (updated 1/1/20) and Your California Privacy Rights. They do not dare to eat a peach. In that picture, Diane Keaton was a high-flying executive who's forced to re-examine her priorities when she inherits a baby. Hathaway plays Jules Ostin, a high-powered executive at a new fashion website, and De Niro is Ben, a senior intern hired to work for her after he rejects the idea of retirement. When such a character appears in the person of Linda Lavin, she comes across as some kind of gorgon and sends him fleeing in horror. If there’s something on the floor, you’ll pick it up; if there’s a mess, you’ll clean it. The whole movie is way too tepid to scintillate. But the movie is also an unromantic comedy, a bourgeois fantasy for those who’d recognize themselves, or a dream version of themselves, in the character of Jules, in which something better and more decisive than a therapist comes in to break the cycle of virtuous self-punishment—a fairy godfather, in the person of Robert De Niro, who plays Ben, a retired businessman and lonely widower who arrives at Jules’s firm in its first batch of “senior interns.”. This crisis, the movie suggests, goes beyond the personal to the over-all notion of progress and its conflict with power. Meyers – herself 65, and with a daunting panoply of popular hits behind her – did right by her contemporaries Meryl Streep in It’s Complicated, and to some extent Diane Keaton in Something’s Gotta Give. FACEBOOK You also apply these standards to others, and become hard to please, easy to disappoint, and unable to delegate. And the premise has possibilities. In addition, Keaton’s character had antagonists in a suspicious boss (Sam Wanamaker) and a sneaky co-worker (James Spader — who else?). That pessimism is of vast philosophical value if your chosen field is artistic, but no matter what your field is this pessimism will also cost you greatly in the practical, interpersonal, business side of whatever you’re doing—and, if what you do is business, you’re on an upward flight toward an Icarus-like disaster. It's not the obvious conflict of work and life, which vanishes with a wave of Ben's virtual magic wand. Nancy Meyers: her 7 dreamiest, creamiest movie houses, 'Condescending' De Niro walks out of interview. To revisit this article, select My⁠ ⁠Account, then View saved stories. She’s imbued with Miranda Priestly’s ruthless drive, if not quite her gorgon-ish way with a petrifying quip. He is a walking touchstone, measuring no one himself (or, rather, measuring all silently and implicitly) but there to serve for others as a measure that they can apply. This godly father figure has much to teach her before she can become truly settled in her life and work. TWITTER But she also has Andy Sachs’s frazzled, daffy ambition, and her tendency to go into meltdown when multiple things in her life go wrong at once. Fortunately, there is no hint of romance between the two characters; it's more of a friendship and professional relationship, which turns out to benefit both of them. He was married to the same woman for forty-six years, until her death, and was, he says, blissfully happy with her. That’s where, in the movie’s view, she runs afoul of the tones and undertones of her generation. © Copyright of Telegraph Media Group Limited 2015. If she can’t quite succeed this time, it’s not for want of trying. | Cookie Settings. They do this by bringing in new interns. For all the bounties that Ben seems equipped to deliver, Meyers is clear that Jules cannot have it all—and about what gets sacrificed in the tradeoff, namely, ideals. Production company: Waverly Films He offers no wisdom but is filled with it and is waiting to be tapped. You want to get married and have kids—to be a part of a family that you started of your own choosing, not merely an atom free of parents but part of a molecule of your own. The poise is a kind of love, and it can also make you a fortune, and, if so, why not. Privacy | To revisit this article, visit My Profile, then View saved stories. Looking at her target audience with an unsparing acuity, Meyers sketches a hard-edged portrait of a heroine of the times as well as a softball fantasy of the moment. Jack Nicholson fucked around royally in his salad days, according to Anjelica Huston, and it made her miserable. This film bears a resemblance to Baby Boom, a 1987 film co-written by Meyers and her former partner, Charles Shyer. It’s a crisis of autonomy and authority, and it's the modern sociopolitical version of a very old-fashioned problem: wanting to be liked. One of its strengths was that Keaton played a more flawed character than the talented and vibrant Jules. Yet given the impossibly high standards that you set for yourself, you also hold others to them—all the while knowing that it’s wrong to be directly judgmental and better to appear patient and grateful. Fantasy has a way of casting a lurid light on unbearable realities. EMAIL ME Music: Theodore Shapiro. Today and tomorrow, in its Vittorio De Sica retrospective, Film Forum will be screening “Miracle in Milan,” from 1951, in which Italy’s crises of employment and housing are portrayed in a sentimental comedy about an orphan who makes his way to a shanty town on the outskirts of the city. The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Ben is a boomer in the garb of the Greatest Generation. And this is where De Niro’s Ben, scrupulously tidy in his everyday suits, hankies at the ready, comes in. Sitemap | There is one surprise twist in the third act that suggests her life may not be as ideal as she thinks. Trapped, you inflict on yourself a mighty self-discipline in order not to snap when others don’t meet your standards, and risk becoming inhibited and therefore even more self-reproachful for not being able to state your expectations plainly until things get out of hand. Jules, praising Ben in the presence of three scruffy young male colleagues, muses—“How in one generation have men gone from guys like Jack Nicholson and Harrison Ford to ...”—as she gazes ruefully at the younger men’s disheveled tenue. In the films of the less sanctimonious classic directors, he’d have been played by Ralph Bellamy, because there has to be something wrong with anyone who’s so good. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

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