Critique of “On the Rocks” (2020): A Movie Review

“Nothing about him that does fade / But suffers a sea-change into something rich and odd” — William Shakespeare in “The Tempest Roger Ebert, the film critic, once said that “all good art is deeper than it admits”. On the surface, Sofia Coppola’s On The Rocks, a comedy about an anxious daughter and a playboy dad snooping around a husband they suspect of cheating, is a light-hearted comedy. The title can refer to Scotch or Bourbon on the rocks. It could also be referring to a ship that has sunk off the coast, or a downward spiral in a relationship. It could be all three. Bill Murray (Rock the Kabah) as the sleuthing father, Rashida J. Jones (Tag“), as the suspecting spouse, and Marlon W. Wayans as the would be philanderer. At first glance, the movie seems headed for sitcom territory. Another Woody Allen-Lite story of overindulged, well-connected New Yorkers. The film’s witty, touching script and the chemistry between its two protagonists reveal depths that go beyond superficial judgements. Coppola describes the film as “the clash between two generations”. . . It’s not the personality of my father. It’s not him. Laura (Jones), in her mind, has some reason to think that Dean (Wayans), her husband, is seeking other ways to satisfy his physical and psychological needs. Laura, a writer who is unable to write anything meaningful while juggling her two children’s school days, preschool and ballet classes, feels estranged and lonely from her husband, who travels a lot. She is suspicious when Dean mentions his “working relationship” with Fiona, a co-worker (Jessica Henwick from “Love and Monsters”) and she becomes more concerned when she discovers an expensive bottle of body lotion in Dean’s suitcase. Laura has become so focused on her own problems that she ignores others who are seeking support. This includes Vanessa (Jenny Slate from “The Sunny Night“) a single mother looking for advice about how to find a boyfriend in New York. Her attempts to engage Laura with conversation as they wait in line to pick up and drop off their children at Kindergarten are met by blank stares. Laura’s decision to ask her rich art dealer dad Felix (Murray), for advice on how to deal with Dean is out of character. It is especially strange that the same father, who was an obsessive womenizer and left Laura’s mother for another woman as a young child, would give her advice. Murray’s sly wit is what makes the film so good. Coppola said, “He’s funny in a unique way and has a lot of heart.” Yet, it is Rashida who provides the human touch. She is insecure and vulnerable and mirrors the truth about their relationship. Felix, who wants to be in a relationship almost with every woman he sees, assumes that all men are the same, and Dean is guilty. This assumption comes without any concrete evidence, but only suspicions. Felix, with the help of cinematographer Philippe Le Sourd (La Traviata), becomes an updated version “Columbo”, as he tracks Dean’s movements in New York. He hides in alleyways and enjoys the scenery of the city while driving his convertible sportscar that has seen better times. Despite Laura’s resistance, they end up in Manzanillo in Mexico, in a scene which could have been adapted from any screwball comedy set in the 1930s or 1940s. The inclusion of popular songs from the time, such as “I Get Along Without You Very Well,” “Mexicali Rose,” and “I Fall In Love Too Easily,” adds to this connection. Felix’s encounter with two policemen who stop him for speeding but end up giving his car a nudge after Felix charms them is equally hilarious. Bill Murray and Sofia Coppola’s last collaboration “Lost in Translation” was about a connection in an alien country that hinted romance. But while Bill Murray’s trademark dry humor and his character were jaded enough to be able to see the world, neither character learned anything about themselves or their surroundings. On The Rocks offers each individual the chance and inner strength to dig deeper and gain a better understanding and sense of trust. Laura is reevaluating her life priorities and her relationship to her father. She takes responsibility for what she does and doesn’t like. She heeds Charles Bukowski’s words to “Drink the well of yourself and begin again.” Or, as Chilean writer Pablo Neruda said, “To feel many things in oneself and recover wholeness after having lived through solitude”.