The Set-Up: I was already loving Up in the Air, but this scene was "the closer."One of the strengths of the film is that everybody in it has their established worlds rocked, and frequently by a means they're all too familiar with. Nobody's safe, not the guy who's losing his job, and not the guy who telling him he's losing it. Irony plays upon irony in a cruel way, not unlike in a Billy Wilder film, but leavened with an understated understanding. These are self-aware people, not on the cusp of discovery, but settled into the muck of their worlds, and making the best of it, only to find that the best of it has its drawbacks.
Look, kids, I'm an old guy. One of the amusements of my dotage is sagely (but kindly) smiling at the unironic stating of "the obvious" from kids on their way up, from the vantage point (lofty, but getting less so on the way down) of someone "of my age." Fact is, goals are great, but once they've been achieved, where do you go from there? More of the same? Lateral move? Accelerating off-course? "Settling?" Life is not a sprint-race. It's a marathon.
And Natalie's plight—being left "up in the air" of her relationship—is only the disaster it seems to be right out of the blocks. It probably wouldn't have worked, anyway. Both are kids devoted to their jobs, and this stage, more than they are than to each other.
But, don't tell her that. She doesn't know what she doesn't know. None of us do and in the process of living is the way we learn. Victories and losses are only temporary things and get lost in the big picture. Temporary things...like jobs (not careers—and even them) or relationships. And the further down the road one travels, the less "perfect" are the dreams we hold. We grow older. We grow wiser. And, hopefully, at an equal rate ("hopefully" being an unrealistic expectation, itself).
There's a lot of wisdom in this scene, rueful though it is. And it's played dexterously by all involved.
The Story: Ryan Bingham (George Clooney) has a good job informing others they've been deprived of theirs. But, on the side he is a guest lecturer on business travel in today's jet age. Rootless, a vagabond, a lone wolf, for this particular trip, he's saddled with Natalie (Anna Kendrick) a young up-and-comer with an idea towards using the Internet and Skype to cut down on the expenses of letting people go. Turnabout, however, is fair play. She's just been dumped by her boyfriend and seeks out advice from the old folks—Ryan and his casual partner in frequent flying, Alex (Vera Famiga)—in an airport bar.
Action!
THE SCREEN OF NATALIE'S CALL PHONE
INT. BAR LOUNGE - HOMESTEAD SUITES - MOMENTS LATER
The three share a booth. Natalie is sipping a drink. She seems to have settled a little.
RYAN (soft dig) That's kind of like firing people over the internet.
Both Natalie and Alex shoot Ryan a look.
ALEX (re: the ex-boyfriend) What a weasley prick.
NATALIE I look in the mirror and I just see compromise... I'm supposed to do something.
ALEX You'll do plenty.
NATALIE I just can't... I thought I'd be engaged by now.
(catches herself)
RYAN None taken.
Natalie catches herself, having no idea how old Alex is.
RYAN At a certain point, you stop with the deadlines.
ALEX They can be a little counterproductive.
RYAN I'm not sure if...
NATALIE I meant Alex...
RYAN Right.
(thinking)
Alex looks at Ryan. He has a nice smile.
(looks up)
NATALIE I just don't want to settle.
Up in the Air
Words by Jason Reitman and Sheldon Turner
Pictures by Eric Steelberg and Jason Reitman
Up in the Air is available on DVD from Paramount Home Entertainment.
3 comments:
I am not fond of this one, but I find Vera just enchanting here. That bit where realises she doesn't know her age and Alex just brushes it off, it just gets me every time.
I haven't seen the movie in a while, but I agree with Andrew. Wasn't a fan of it on the whole but Vera was fantastic and this scene was a gem.
True on both your parts.
I like Up in the Air because it's one of those rare films about adults who're no longer aspiring "to be" anything, but have realized they have become, for better, for worse, who and what they are, and the wisdom (or lack of it) that comes with the territory. It's a film about transitions and being, rather than dreaming of what the future will hold. It's a cold dash of reality in movie-length form. And that's why I love it. You guys might want to revisit it in a few years...but no hurry, really.
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