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It’s the Movie That Could Finally Get Adam Sandler His Oscar Nomination. It Left Me Teary.
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“Can we go again?” asks Jay Kelly (George Clooney), a movie star shooting a scene in which the tough guy he’s playing dies of a gunshot wound on the soundstage reproduction of a rain-slicked alleyway. “I think I can do it better.” These lines from the opening scene of Noah Baumbach’s Jay Kelly will become the film’s wistful recurring theme. As an A-list celebrity some four decades into a phenomenally successful career, Jay has arrived at an age when many people look back on what they might have done differently in their lives. But “many people” don’t have a private jet and a full staff of housekeepers, chefs, stylists, and personal assistants at their command. Taking stock of your past mistakes is tough when everyone around you is busy protecting you from the consequences of mistakes you’re still making in the present.
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How Noah Baumbach Fell (Back) in Love with the Movies
The opening of Noah Baumbach’s new movie, “Jay Kelly,” has his leading man, George Clooney, wrapping a scene in what appears to be a crime drama. “I don’t want to be here anymore,” Clooney says, slumped and bleeding from a bullet wound. “I want to leave this party.” Despite the whiff of farewell, Baumbach, with thirteen films and two recent career-spanning tributes to his credit, says that he’s renewed his vows with the movies.
I met Baumbach more than twenty years ago, when I plucked a Shouts & Murmurs piece he’d submitted out of the slush pile. At the time, he was writing “The Squid and the Whale,” his heartbreaking divorce comedy. We sat together at The New Yorker’s Christmas party that year and talked about breakups and custody battles. When the movie came out, I interviewed him and one of its stars, Laura Linney, for the fledgling New Yorker Festival, at a theatre in his old Park Slope neighborhood. Not long afterward, I remember a lively dinner of crab cakes at the Friars Club with Baumbach, his sometime writing partner Wes Anderson, and the New Yorker legend Lillian Ross, who was then in her nineties. (When I walked into the club, Lillian yelped at me across the lobby, “Our dates are here!”) The magazine has since published a dozen more of Baumbach’s Shouts, on such subjects as Keith Richards’s Desert Island Disks and a coked-up honeybee, and in 2017, when Netflix released “The Meyerowitz Stories” —another divorce comedy, at longer range—I spoke to him for The New Yorker Radio Hour. This past October found us sharing a carpeted stage at the Festival once more, to talk about “Jay Kelly.”
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