There is something powerfully, even shockingly intimate in one doctor's-surgery scene, when Cindy reveals the age when she first had sex, and the number of her sexual partners. This is partly because of the nature of her character's predicament and the way it is written, and due partly, perhaps, to her own more reticent style. Gosling externalises and makes plain what his character is thinking and feeling more than Williams, who is often a little sphinx-like. The acting styles of Gosling and Williams are perceptibly different. No one is directly to blame, and yet blame hangs over everything like a fog.
These changes are disclosed via flashbacks to how they met, and Cianfrance lays out the ingredients of this unfolding disaster – how complex and messy the situation was when they got together, and how their decision to be a family in an awful way symbolised and perpetuated this messiness, which their married love is not strong enough to overcome. Cindy, however, still looks good, however stressed and tired she gets she clearly both regrets what she has given up in career terms and is perplexed at Dean's own lack of drive, but can't articulate any of this because of a guilty, anxious appreciation of the selfless and romantic gesture Dean made in marrying her.
Dean is more focused on hearth and home and family responsibilities, and moreover appears to resent Cindy's possible neglect of these values, a festering argument which blows up over the question of their yard gate getting left open and allowing their daughter's adored dog to escape and get lost.ĭean has gone to seed and lost his hair, and his fondness for an early-morning beer is developing into something worse. She is a nurse he is a semi-househusband who works intermittently for a moving company, heaving great boxes and tea-chests in and out of trucks. Gosling and Williams are Dean and Cindy, a couple with a three-year-old daughter who appear to be in class terms close to the bluecollar stratum.
The questions it asks are important: how do relationships fail? Is there a stage at which the unhappy couple can do something, somehow change course? Or do certain relationships have fundamental bad chemistry, do they contain the seeds of their own destruction? Or is it rather that each of the individuals involved is predestined to make a mess of any relationship and so by getting together they have, as the old saying goes, made two people unhappy instead of four? Most agonisingly of all, is the yearning for cure and rescue simply a tragically delusional prolongation of the pain?
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There are powerfully committed performances here from its stars and executive producers, Ryan Gosling and Michelle Williams this is a movie which puts its audience in close, sometimes stifling proximity to a dying relationship, and I occasionally felt that it resembled, just a little, an indulgent actors' project. D erek Cianfrance's film is a sombre, painful portrait of a toxic marriage, often touching and sometimes moving, though occasionally contrived and self-conscious in its effects.
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