Jay Kelly is an impressive convergence of Hollywood titans.
Writer/director Noah Baumbach has 30 years experience of making intimate and well-observed family dramas with his particular brand of wry, downbeat humour. His work has long been acclaimed, receiving four Oscar nominations, including for co-writing gargantuan hit, Barbie (2023 ). His talents have attracted many prominent A-listers and Jay Kelly follows that lead, reuniting him with Adam Sandler from previous collaboration, The Meyerowitz Stories (2017 ) - possibly my favourite Baumbach film, also on Netflix. Most notably, however, is George Clooney, cast in the lead role; an actor whose success and fame have allowed him freedom to be selective regarding which roles he takes. This choice is especially intriguing given the almost autobiographical nature of the character.
Following the wrap of another film, highly regarded veteran actor Jay Kelly takes a step back from work, following his daughter on her trip to Europe before she leaves for college. Surrounded by colleagues, including his staunchly loyal manager, Ron (Sandler ), Jay interrogates his past, and his choices which paved the way for his successful career.
Following on from White Noise (2022 ), Jay Kelly continues Baumbach’s departure from his more understated approach to character and story, much to my disappointment. This is an unapologetic ode to Hollywood: its glossy surface and perpetual sunshine; the people involved behind the scenes to keep the show rolling; masses of common folk who treat stars as royalty.
In this regard, the film works as a breezy, frivolous escapade, not requiring much contemplation. The cast is an impressive list of actors whose presence elevates any film regardless of quality: Clooney, Sandler, Laura Dern, Billy Crudup, Patrick Wilson and to my surprise, a rare performance from Stacy Keach, now 84 years old, but still a fantastic screen presence.
Fast, comedic, but also truthful dialogue has always felt effortless in Baumbach’s films. This is a major reason why he is considered one of the most perceptive modern writers. While there are some entertaining moments of banter, again mostly because of the actors’ charm, it lacks the relatability and humanity of his best work.
There is already a sense of remove when your lead character is considered one of the most famous Hollywood actors. When that character is played by George Clooney, it requires extra work to earn connection from the audience.
It does not really feel as though this film is really trying. Kelly, despite his vast success, is suddenly haunted by his past, and regretful of his paternal failings. The inconsistent tone however prevents his internal struggles from really registering.
It is a broad comedy at times, with witty one-liners, and physical comedy, but then it also wants to portray an existential crisis on multiple fronts: Kelly’s relationship with his daughters, his manager, his friend from acting school, and his father. It is too much to tackle, and it does not help when comedy dilutes the dramatic moments of any real impact.
There are some bizarre, ill-judged narrative detours, such as Kelly chasing a thief through a field, or his manager’s meeting with a separate client that is oddly, (purposefully? ) melodramatic, as it takes the form of a romantic break-up. The climactic moment of catharsis will be polarising. I thought it was a brazen attempt to elicit an emotional reaction, which - like the majority of the film - was devoid of nuance.
That being said, the film has a pleasant surface. It has charismatic actors, beautiful locales, and moments of impressive technical craft, especially the opening, continuous shot gliding through the film set. The frustrating part is knowing that with the individuals involved, the film should have felt more substantive.
Available now on Netflix
