Friday, April 4, 2025

The Friend: The best one imaginable

The Friend (2024) • View trailer
Five stars (out of five). Rated R, for profanity
Available via: Movie theaters
By Derrick Bang • Published in The Davis Enterprise, 4.6.25

How do you explain death to a dog?

 

Writer/directors Scott McGehee and David Siegel have done a rare thing, in adapting Sigrid Nunez’s award-winning 2018 novel. They’ve retained the book’s heart, while making the story more accessible to a general audience.

 

Iris (Naomi Watts) reluctantly realizes that her massive canine companion likely won't
be able to handle a revolving door.


It’s immediately obvious that this film celebrates authors and the written word; the central character’s stream-of-consciousness narration is laden with epigrams, quotes from famous novels (and movies), philosophical musings and sardonic bon mots. All help paint an increasingly layered portrait of a soul in crisis.

Iris (Naomi Watts), a successful author, lives in a 500-square-foot, rent-controlled, upper-floor Manhattan apartment that she “inherited” when her father died. She teaches creative writing at a nearby college, silently enduring her students’ efforts to critique each others’ efforts; she seems not to pay attention, but misses nothing.

 

Her best friend and longtime mentor, Walter (Bill Murray), is an elder statesman in New York’s literary scene. We meet him during a lively dinner party, where he regales everybody with the saga of how — while jogging one morning — he glanced up a park hill and was transfixed by a “magnificent beast.”

 

Then, abruptly, he’s gone.

 

The subsequent funeral is well-attended by numerous friends, along with ex-wife No. 1 (Carla Gugino, as Elaine), ex-wife No. 2 (Constance Wu, as Tuesday) and his current widow (Noma Dumezweni, as Barbara). Elaine and Iris were college mates, back in the day, and Walter was their professor: an unapologetic, old-school womanizer.

 

His only child is a twentysomething daughter, Val (Sarah Pidgeon), fathered with yet another woman.

 

Despite the serial philandering, and a tendency toward condescension, Iris adored him. His absence worsens the writer’s block that has long delayed her next project: a collaborative effort with Val, to comb through Walter’s voluminous correspondence, in order to produce a book of essays. That project was suggested by Walter, as a means to take Iris’ mind off her long-unfinished next novel.

 

Iris goes through the motions, during the next few days, grief etched on her face. Then she’s summoned by Barbara, who has a “delicate matter” to deal with: getting rid of Walter’s dog, Apollo.

 

“You were his contingency plan,” she tells the genuinely surprised Iris, who knew nothing of this.

 

But the request is impossible. Iris has no pets, and if she did, it would be a cat. More crucially, her apartment building doesn’t allow dogs.

Tokyo Cowboy: Round it up!

Tokyo Cowboy (2023) • View trailer
Four stars (out of five). Rated PG, for fleeting mild profanity
Available via: Amazon Prime and other VOD options

I’ve been waiting for this one since last summer.

 

Despite its distributor’s claims of theatrical release, Tokyo Cowboy never made it to the Northern California market, and evidence suggests only a few film festival appearances. Streaming options also took longer than usual, but patience has been rewarded.

 

Having thus far failed to impress anybody at the Lazy River Ranch, Hideki (Arata Iura)
is surprised when Javier (Goya Robles) offers a genuine sign of friendship.


It does not disappoint.

Scripters Dave Boyle and Ayako Fujitani have concocted a marvelous premise that revolves around a hopeless culture clash: a quiet, slow-burn dramedy that is — by turns — aggravating, frustrating, and gently amusing. It also speaks volumes about how wildly contrasting people must forge a common bond ... and be willing to do so.

 

On top of which, a great moral: Sometimes true happiness can be found only when we’re brave enough to step outside our comfort zone.

 

Marc Marriott — in a sparkling feature directorial debut — maintains just the right tone, and elicits delicately shaded performances from everybody, even those in fleeting supporting roles.

 

Hideki Sakai (Arata Iura) has built a career as a Japanese corporate turnaround artist employed by Miki Holdings Ltd.: confident that he has the “secret sauce” to recharge any stagnant brand. He’s introduced as his company takes over the Matsuyama Handmade Chocolate company, where employees are shown carefully crafting candy delicacies made from the finest chocolate.

 

The elderly Mr. Matsuyama (Masashi Arifuku), lacking grandchildren to inherit his business, reluctantly relinquishes control as Hideki assures him that the company will be well chaperoned.

 

Uh-huh.

 

Within days, the cocoa is out-sourced to one of Miki’s holdings in Brazil, the product menu is slimmed down, artisan employees are replaced by a production line, the word “Handmade” is removed from the company name, and its previously attractive logo is replaced by an ugly blend of sharp lines and blobby colors  ... all of which cuts front-end expenses by 15 percent. 

 

(At what cost to the taste of the final product? That question has a delectably slow build and a great payoff.)

 

Miki’s corporate President Miwa (Ryô Iwamatsu) is pleased.