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I love this film. That is not to tell that it doesn't have flaws. The dialogue, the camera-work, the lighting, all these things sometimes seem clunky and amateurish. However, the target of the movie is to place a romantic relationship under a microscope and portray it as naturally and honestly as possible. In order to achieve that, some things gotta be sacrificed: secondary characters, production design, revelation of plot. Audiences often see plot and storyline as the same. Actually, storyline is the street along which we travel (i.e. this happens, then this happens, then this...), where as plot equals two seemingly unrelated happenings that result every other. Most movies have more plot than story. That is to say, they slash to the chase, saying us what THIS has to do with THAT. FP does the opposite. It compresses plot in order to focus as much as possible on it's main character: the relationship. FP is not about the method Nicole and Stuart result every other, or about the method outside forces result them, it is simply about the fact that this relationship occurred. It began, eventually it ended, and if that can be portrayed honestly, without pulling punches or cutting to the chase, then why would a movie need to be anything more?FP has been compared to Scenes From A Marriage. After seeing FP I've realized that Bergman is a huge presence in SFAM and that may be a problem. Bergman shows us Johan and Marriane from a distance, carefully pointing out their foibles as if to say, "look at how absurd human relationships are." Lipsky never does that. He never judges his characters or analyzes them, he simply puts the camera in their faces and says, "this is what a relationship looks like." In regard to the ending, I am compelled to mention the most effective ending in movie history: Anthony Quinn's epiphany on the beach in La Strada. The end of FP could work the same. We've watched Stuart create one mistake after other and just as he realizes how closely he came to an current human connection and how foolish he was to allow it go, we realize that we've made the same mistakes and there is no easy respond as to how to live our lives. Through this we could search sympathy for Stuart and that makes FP more engaging and complex than many movies out there. If FP fails to result it's audience, well then, at least Mr. Lipsky is film-literate, because not enough working directors are. With all of it's flaws and awkward moments, I can't support but fall for a movie that challenges me and refuses to assure me that everything will be alright in the end.
Just saw this at Cinema Arts in Huntington NY and I wonder why the negative comments are so nasty. This movie is exactly what it claims to be - an independent film, made with limited resources by hardworking actors who give it their all. While all the characters may not be appealing, they are all interesting and have something to say. The younger brother (Jordan), for example, was fascinating. The two leads were perfect and had chemistry that is difficult to search in so named major movies. Nicole may have had one or two too many nude scenes, but that's OK. Justin Kirk really caught his hero and his dialogue and delivery was excellent. The movie should be 20 mins shorter with tighter editing and might be more enjoyable and have fewer head-scratching scenes. What was the conversation between the mother and the husband in the hospital cafeteria all about and where did it lead to? All in all a six or seven and worth seeing, in my opinion.
"Flannel Pajamas" opens with the meeting of Stuart and Nicole at a convivial dinner party. Despite Stuart trumpeting his life philosophy in a narcissistic monologue, the romantic portents seem promising, and by the end of the evening they are clearly besotted with every other. The film's Indie credentials are established over the next half hour with some fairly explicit love scenes, which unfortunately add tiny to either plot or hero development. In due course the lovers marry, place on their clothes and begin criticizing every another - instantly transforming the erotic intimacy of their bedroom into a zone of estrangement. Nicole gripes that Stuart doesn't listen to her and won't talk about his problems - while remaining secretive about her own. With communication and tenderness in short supply, the marriage turns rancid as they persist with their complaints and evasions, until their faces turn sour with resentment.A troupe of peripheral characters come and go, priming the audience for plot-lines that never materialize, leaving "Flannel Pajamas" full of loose threads and soggy with irrelevant material. The script fails to define the couple's essential trouble - and while such ambiguity may be commonplace in marriage, it's a questionable recipe for drama. Most viewers will probably have had enough of this tiresome twosome and their unlimited duplicity long before the curtain falls.
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