She Came to Me
She Came to Me is another one of those films where the director doesn’t seem to know what they’re trying to say. It’s not that Rebecca Miller isn’t comfortable with warmth and humor, it’s that she shows an increasing comfort with warmth and humor. In fact, this could have been a farce or a tragedy. But if “She Came to Me” were any less balanced between those two extremes, it wouldn’t be so light on its feet. Performances are beautiful across the board, though I take particular pleasure in pointing out Peter Dinklage’s brilliant performance as Steven who may be imperious but is also very vulnerable being an opera composer struggling with writers block (and a looming deadline). This movie is great because it’s directed so well, acted wonderfully by everyone involved Anne Hathaway shines here-, charming in every way possible what more could you ask for?
Just don’t expect anything predictable from this film! There’s nothing quite like watching something that refuses categorization, some might feel uneasy about its refusal while others will find comfort there. If we recall Miller’s last outing as writer/director (“Maggie Plan”), Greta Gerwig played warm-hearted yet idealistic young woman falls madly in love alongside her older pretentious married literature professor only later deciding to reunite him back together again with his ex-wife after they’ve already broken up once before due entirely too much interference from others who should have known better anyway because really how often does anyone ever manage make things work out just right when meddling such matters? Here we get some more characters who are pretentious about art and needy for love but not particularly good at thinking through day to day relationships which should remind us all of ourselves at least little bit shouldn’t it? They try control world around them sometimes people they’re destined fail. Movie opens famous aria from Carmen translates “Love rebellious bird,” as perhaps most do
Another family of three is one of several mirror images in the movie. Magdalena, played by Joanna Kulig, is an illegal immigrant working as a maid for Patricia and Steven. She is not legally married to her partner, Trey (Brian d’Arcy James), but he has legally adopted her daughter Tereza (Harlow Jane). Trey considers himself the girl’s father. A blowhard who meticulously reproduces Civil War battles because he prizes historical fidelity above all else, Trey also happens to be an accomplished court reporter who prides himself on his knowledge of the law through years of transcription work at trials. In STEM, Tereza excels as well; she has partnered with Julian on a “futurist” science presentation. While Trey immerses himself in recreating the past down to its smallest details, they are dreaming forward.
Both teenagers live under surrogate fathers’ roofs. Before knowing about their kids’ connection, unplanned pregnancies had been suffered by Patricia and Magdalena. It did not interrupt her medical training in any way or fashion for Patricia. “I just didn’t sleep for three years,” she jokes. Magdalena was less lucky. She cherishes her daughter but resents having had to give up on her own ambitions, this only redoubles her determination that Tereza not be sidetracked from hers towards as we learn when Magdalena cleans Julian’s room which she discovers photographs that suggest he and Tereza have taken steps.
Steven drives Patricia nuts enough that she suggests taking their dog out for air to clear his mind and find inspiration; at a dive bar, he meets Katrina (Marisa Tomei), a tugboat captain clad in earth tones while everyone else wears black and white, who takes him back to see her vessel and confesses that she wrestles with romantic fixation which does nothing to dissuade him from sleeping with her, which in turn leads him to write an opera about a homicidal tugboat captain; somehow, this opera is also a hit.
When Julian and Tereza fall into conflict, the loyalties among the adults shift and clarify. Miller allows some operatic overreach for the older characters, but her respect for the teenagers gives the film a giddy optimism that can include messiness and simplicity, skepticism and hope, saying what you need when you need it and trying something crazy when all else fails.
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