Human Capital (Marc Meyers, USA, 2019)
Mainstream films in America often struggle when it comes to portraying class divides, not because it is hard to do so, but because those in charge of getting films seen are loath to honestly examine how for most people the American dream is a total nightmare. They have determined that social truths that run counter to the Horatio Alger mythology are a real downer and won't put butts in the seats. So on those rare occasions when a studio film touches on issues of social class the chances are the key word will be "touches" rather than delves into.
Alas, I must report that such is the case with the Oren Moverman penned and Marc Meyers' directed Human Capital. Based loosely on a 2013 Italian film of the same name, the story follows characters from different social classes as their lives intertwine in unlikely and disastrous ways. Liev Shreiber is Drew Hagel, a realtor who represents the failing middle class. Drew, despite a history of gambling issues, finds a friendly banker who allows him to make a dubious investment in the volatile world of hedge funds. The funds in questions are run by the well-cast Peter Sarsgaard, who has made arrogance and smugness his calling card for a couple of decades. His depiction of the uber-wealthy Quint Manning will do little to alter that image. And on the periphery, representing the working class, is Ian (Alex Wolff, Hereditary), a thinly drawn character who acts primarily as a plot device.
While the film clearly boasts a first rate cast, Marisa Tomei as Quint's wife is wasted in cliched subplot of a bored wealthy woman trying to find meaning through art. On the other hand, Maya Hawke is terrific as Shannon, Drew Hagel's daughter, who is drawn into the central mystery when she comes to the aid of her former (closeted) boyfriend (Fred Hechlinger) who also happens to be Quint's son. Whatever "it" is, Hawke has it. Eventually, a late night accident wraps these character's stories around one another as we and the police try to solve the mystery of who caused the accident, as well as who will pay the price. The stories are told in a Rashomon-like way, as we witness the central events from three different perspectives. Unlike Rashomon, however, Human Capital offers no additional insight into the characters or the human condition through such an approach. Instead, the overlapping narratives drag the simple story out, making a relatively short 97 minute film feel like a bit of a slog.
Human Capital is a well-mounted, capably acted, mechanically-written and directed film that swims effortlessly in the mainstream, but offers little if any insight into the human condition.
Mainstream films in America often struggle when it comes to portraying class divides, not because it is hard to do so, but because those in charge of getting films seen are loath to honestly examine how for most people the American dream is a total nightmare. They have determined that social truths that run counter to the Horatio Alger mythology are a real downer and won't put butts in the seats. So on those rare occasions when a studio film touches on issues of social class the chances are the key word will be "touches" rather than delves into.
Alas, I must report that such is the case with the Oren Moverman penned and Marc Meyers' directed Human Capital. Based loosely on a 2013 Italian film of the same name, the story follows characters from different social classes as their lives intertwine in unlikely and disastrous ways. Liev Shreiber is Drew Hagel, a realtor who represents the failing middle class. Drew, despite a history of gambling issues, finds a friendly banker who allows him to make a dubious investment in the volatile world of hedge funds. The funds in questions are run by the well-cast Peter Sarsgaard, who has made arrogance and smugness his calling card for a couple of decades. His depiction of the uber-wealthy Quint Manning will do little to alter that image. And on the periphery, representing the working class, is Ian (Alex Wolff, Hereditary), a thinly drawn character who acts primarily as a plot device.While the film clearly boasts a first rate cast, Marisa Tomei as Quint's wife is wasted in cliched subplot of a bored wealthy woman trying to find meaning through art. On the other hand, Maya Hawke is terrific as Shannon, Drew Hagel's daughter, who is drawn into the central mystery when she comes to the aid of her former (closeted) boyfriend (Fred Hechlinger) who also happens to be Quint's son. Whatever "it" is, Hawke has it. Eventually, a late night accident wraps these character's stories around one another as we and the police try to solve the mystery of who caused the accident, as well as who will pay the price. The stories are told in a Rashomon-like way, as we witness the central events from three different perspectives. Unlike Rashomon, however, Human Capital offers no additional insight into the characters or the human condition through such an approach. Instead, the overlapping narratives drag the simple story out, making a relatively short 97 minute film feel like a bit of a slog.
Human Capital is a well-mounted, capably acted, mechanically-written and directed film that swims effortlessly in the mainstream, but offers little if any insight into the human condition.
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