When writing a review I am not one who revels in deliberating on flowery prose with which to acknowledge the contributions of actors in a film. This is not to say an actors contributions to a film are insignificant, the prevailing reason for this fact is that as wonderful or irrelevant as a performance is, my opinion usually boils down to the narrative and how well it functions. However, on occasion you’ll find a character-driven piece that is so perfectly cast that it bears mentioning front and center.
That’s the case in Win Win. This film is all about its characters and each of the actors assigned to their respective characters could not be more well-suited, it’s quite literally pitch perfect. Paul Giamatti plays a more humbled and down-to-earth character than he’s usually given to toy with. The vulnerability there allows us to identify with him even when he makes mistakes and we know it at the time. He is flanked by friends who despite very different outward personas hide hurts from which they seek refuge. Each is played brilliantly by Bobby Cannavale and Jeffrey Tambor respectively.
The mentions of the cast will continue as necessary but I can proceed because what works best in this film is that it never devolves into a self-indulgent character study but allows the plot to flow from the characters.
It takes a sufficient amount of time to develop the characters and then allows the information to progress the story rather than have the plot move ahead and character development is left chasing. A prime example is Alex Shaffer’s character, he first shows up as a complication in Mike’s (Paul Giamatti’s) plan then we learn who he is, he wrestles to have something to do and then we discover he’s good. Director Thomas McCarthy’s gamble to find an actor who was a wrestler first paid off big time, as Shaffer plays the role of a disaffected teenager to a tee and adds more dimension to the role than perhaps was even written.
The dialogue in this film is funny and like everything else is character-driven. Nothing is flippantly tossed out for a laugh but everything grows out of who we learn these people are and how they’ll react to given situations. Jackie, Paul’s wife (Amy Ryan) is a prime example of this. A lot of her dialogue is hysterical but only within the context of who we discover she is and not inherently.
The characters get introduced to in drips and drabs such that we quickly, without being spoonfed, discover what makes them tick. The family dynamic is introduced with a triad of scenes each punctuated in profanity, the depths to which Terry (Bobby Cannavale) is suffering from his divorce is revealed slowly and almost as an aside and even wrestling, which ends up being a major component of the film, doesn’t get thrown into the mix straight away.
The film benefits greatly from having a very tight and neatly structured script that paces itself to perfection. Aside from making sound and effective narrative decisions it is great mechanically. As I was watching it I wondered if Newmarket Press had picked it up for the Shooting Script series (it seems it has not but hopefully it will).
The title of the film reflects itself in the narrative in a subtle way in as you get the resolution you wanted. Yet, it’s the manner in which it’s handled that’s the most satisfying. It’s not a sappy or stereotypical ending. Ultimately, the characters end up with what they want but not how they expected to get and not without sacrificing.
The climactic conflict that needs resolving to get to said point is also very well dealt with. To put it simply it’s wordlessly and cinematically resolved. There are times in life when we know words are futile and an action must either be forgiven or not and life must go on. This is even more true in cinema and few films realize and this one does.
This is a great serio-comic film that resonates with truthfulness and is the rare film I’d categorize as a must see.