Bening’s Time

It took me a while to finally see The Kids Are All Right. I knew the movie would be good, and I followed the trail of buzz that has it continually landing on lists of films that might make the cut for the Oscars. Some have asked why the film is always there when it doesn’t have any so-called buzz. The simple reason is that the film stands out not just because of the tuned and harmonious cast, but because the subject matter is daring, confrontational, and dare I say it, groundbreaking.

It is so not just because it might even qualify as “Queer Cinema” in its exploration of this lesbian couple played by Annette Bening and Julianne Moore — but it breaks new ground because it’s looking at the effects of how modern families are formed.

It was therefore premature to write a post about the year’s best moments and leave off a film that is filled with so many of them.

It takes guts to open a film with older lesbians in bed watching gay male porn. It took guts for Moore and Bening to let it all hang out the way they do, and for the film – it was like saying, “we’re here. We’re queer. Get used it.” I loved the up front, in-your-face attitude that director Lisa Chodolenko took in putting that scene so close to the beginning of the film. Moreover, when they do show so-called “straight sex,” between Moore and the wonderful Mark Ruffalo (every bit deserving of the Supporting Actor buzz) it is the more awkward encounter because Moore’s character is gay. Contrast that scene with the other sex scene involving Ruffalo and you will see a very clear difference.

It’s important to get the sex out of the way, I think, because that is usually what pops into straight people’s minds when they watch gay or lesbian characters in a relationship, “how do they do it?”

While Moore is certainly great in her role, it is Bening who utterly steals the show. She commands every scene she’s in, and the truth is — she’s never been this raw before on camera. She’s never been this magnetic, funny or complex. The scenes involving her are among the film’s best moments but I had to admit I laughed out loud when she said “Hemp milk? Please. Give me a fucking break.”

Bening and her wine, Bening and her foot rub, Bening and her lectures about the dangers of motorcycles, her fierce defense of her family, and finally, her tearful breakdown when she has to confront her own lack of attention paid to her wife. By the end of the film, we are convinced that they are a family. A non-traditional family, sure, but a real family.

I haven’t seen Natalie Portman in Black Swan yet, but from what I can tell, I think we are really and truly looking at Bening’s win, finally. The Oscar race for Best Actor or Actress is usually not about one singular performance, although sometimes it is. Most of the time, the stature rewards not just a body of work, but the moment the performer takes a giant step forward. In Bening’s case, she turns in a much more toned down, less showy performance. And I think she’s got the Oscar sewn up.

She will have to work the line, do interviews, make jokes, trot old Warren around…The only possible threat is Natalie Portman. Neither of their characters (I presume with Portman) are particularly likable — but Bening has charm on her side in this role – add that with the overdue status and you have a perfect storm to win. The dark horse right now is Jennifer Lawrence.

I bring this up now because every year there is a so-called defacto frontrunner that everyone lazily assumes will be in first place. Another takes her place as soon as the race begins in earnest. But this time Bening happens to deserve to win. I will be stunned if she doesn’t.