My friend Diana made three requests for musicals. If memory serves, the impetus was a discussion of non-singing actors taking on roles that required singing. I fear I’ve failed this assignment, probably due more to taste preferences than anything else. It took me three tries to get through Guys and Dolls (Marlon Brando and Jean Simmons), and I couldn’t finish Into the Woods (Anna Kendrick, Meryl Streep, and a bunch of others). The latter had actors who could sing, that is, it’s a bit inaccurate to call them non-singers (like, say, Marlon Brando was). When writing about Guys and Dolls, I tried to figure out just how far out of my preference zone such movies were. “It’s not that I don’t like musicals ... It’s not that I don’t like 50s musicals, although we’re getting closer ... But I’m not a big fan of Broadway musicals from the 50s that made it to the big screen.”
Like Into the Woods, The Last Five Years is not a 50s musical. But, also like Into the Woods, it’s a stage musical that was made into a movie. And stage musicals just don’t interest me. I’ve been to one, Pump Boys and Dinettes, and that was in the early-80s. The music is not my cup of tea. I know I often stress how much our taste preferences guide our opinions, but it’s especially true here, because I’m not sure I would recognize a good stage musical if I saw it. Let’s put it this way: I can’t imagine listening to the soundtrack to any of them.
So I don’t know what to make of The Last Five Years, at least in any kind of evaluation that is fair. The gimmick, whereby the two people in a relationship take turns singing songs, with one (Anna Kendrick again, as Cathy) working chronologically backwards from the final breakup, and the other (Supergirl’s Jeremy Jordan as Jamie) working chronologically in a “normal” fashion, is interesting, although it barely makes sense if you don’t already know that’s what is happening. Kendrick is a fine singer, and I suppose Jordan is good, too. And that’s the extent of what I liked.
I knew I was in for trouble when it became apparent early on that almost the entire movie is sung, rather than spoken. That’s not a killer on its own ... I liked The Umbrellas of Cherbourg quite a lot. But ... and again, I can’t say the songs were bad ... but they were not anything I would choose to listen to. A day after watching the movie, I can’t recall a single one of the songs.
So I’m put off by the decision to sing songs I don’t care for, and while I liked Kendrick, I found Jordan about as bland as Richard Beymer in West Side Story. I had a hard time paying attention to Kendrick’s songs, but Jordan’s just about put me to sleep.
By the time we got to the end of the movie, which showed the power of the chronological gimmick, I was too worn out to appreciate it. Jamie, who has come to the end of the relationship, sings about that end, while Cathy, who is now beginning the relationship, sings about possibilities. I could tell it was touching, deservedly so, but I was long past being touched, myself.
On the other hand, it only ran for 94 minutes.
I’m looking forward to Diana’s non-musical request, Fiorile, a Taviani Brothers film that has no singing, as far as I know. She has steered me in the right direction more than once on television series, and I liked the one Taviani film I’ve seen, so the future looks bright. 5/10.