In a movie industry that is rather lacking in intellectual heavyweights, this directorial debut by Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Adaptation) is a veritable breath of fresh air. The ambition of Synecdoche, New York is irrefutably something to be admired, but, like the film’s central character, Kaufman may have bitten off more than he can chew.
The action centres around theatre director Caden Cotard (Philip Seymour Hoffman), whose life catering to suburban blue-hairs at the local theatre is looking bleak. His prospects soon change though, when he receives an unlimited grant to produce a piece of work on anything he chooses. This is his chance to make his mark and finally produce a piece of honest and relevant work that he will be proud to leave behind. As he focuses on his project and the constructed lives within it, Caden’s own life veers wildly off the tracks. Faced with a daughter growing up under questionable guidance in Berlin, a difficult decision in choosing the correct lover, and a deteriorating health situation, Caden immerses himself in the new project. It soon becomes difficult to see the difference between the reality of his own life and the fictional lives of his created characters.
Employing the same dream-like logic that can be found in Being John Malkovich, Kaufman asks his audience to accept certain happenings without question, allowing for some serious metaphors and striking visual concepts. The innocent observer soon finds themselves investigating meaning into almost every occurrence. At one point, Caden’s true love interest Hazel (Samantha Morton) buys a house that happens to be on fire, and which continues to burn throughout the film, eventually killing her in her old age. Let the debate over what the true meanings actually are begin.
Synecdoche, New York is undoubtedly messy, and I must stress again the somewhat ironic connection between the film’s writer and its main protagonist. Both seem to be attempting to create a masterpiece that will resonate with every audience member on a personal level. Unfortunately, this film never quite gets there. It leaps from topic to topic, year to year, loaded with possible parallels and potentialities. There are so many things going on that it ultimately damages the film. It is too slippery to grasp fully, and its message is largely lost amongst the cramming in of set design, side notes, visual tricks, subtext, deadpan jokes, and voice-over.
Having said this, the film is held together by the fact that no matter how outlandish its style and story gets, the behaviour and emotions of the characters are always palpably real. This is combined with stellar performances from all of the supporting cast. Hoffman, though, truly shines. Synecdoche, New York is definitely a film that needs to be seen more than once. So many aspects are open to interpretation: you could watch it with a friend and both come out of the cinema having seen two completely different films. Ultimately though, this is where enjoyment of the film can be found- when you make a connection, it’s yours.
Three stars
