“Cinema Doesn’t Need to Have a Message. It Needs to Have a Heart!” – Malcolm Elliott
A contained and regaling monochrome drama, 2021’s Malcolm & Marie was one of the first feature-length films produced amidst the COVID-19 global pandemic. Written and directed by Sam Levinson (Another Happy Day, Assassination Nation), best known as the creator and lead writer of the hit teen-drama series; Euphoria, Malcolm & Marie was shot during the U.S. COVID-19 lockdown between June and July of 2020, with the approval of the Writers’ Guild of America, Directors’ Guild of America, Screen Actors’ Guild of America, and the American Federation of Television and Radio Artists, as the production followed strict safety protocols to ensure the cast and crew could work safely. With this in mind, Malcolm & Marie makes the best of challenging circumstances, utilising a singular location, minimal cast and sleek visuals to craft a captivating flick that examines how volatile personalities can clash, especially when tangled in a long-standing relationship.
Plot Summary: After returning home from the premiere of his debut project, filmmaker Malcolm Elliott and his girlfriend, Marie Jones, await what is sure to be an imminent critical and financial success. But, as the evening transpires, their celebratory night takes a turn for the worse as revelations begin to surface, testing the strength of their devotion to one another…
Between Marcel Rév’s scrumptious black-and-white cinematography and the no-holds-barred verbal brawl delivered by the central duo of Washington and Zendaya, it’s impossible to discuss Malcolm & Marie without drawing comparisons to the cinematic adaptation of Who’s Afraid of Virginia Woolf? (1966). Like the stage play the film is based upon, first staged in 1962, Who’s Afraid of Virginia Woolf? explores the complexities of the marriage of middle-aged couple Martha and George, where, late one evening, after a university faculty party, they receive an unwitting younger couple, Nick and Honey, as guests and are drawn into their bitter and frustrated relationship. Although Malcolm & Marie only focus on the two titular characters, both stories have more than a few similarities. One element of Malcolm & Marie that is unique to the film, however, is its underlying theme of the essence of cinema, examining this concept through the eyes of Malcolm as a passionate Black filmmaker who loathes the politics surrounding Black filmmakers. In fact, Malcolm’s intense dislike of an anonymous female critic from the L.A. Times is believed to be a reference to L.A. Times writer Katie Walsh, who once wrote an unfavourable review of one of Levinson’s prior directorial outings.
As the sole cast members, John David Washington and Zendaya hold the entire weight of the film on their shoulders. Thankfully, both share amazing chemistry and receive countless chances to let their talent shine as they each deliver lengthy monologues exploding with emotion. Through these monologues and the sharp dialogue, it quickly becomes apparent that the titular, well-defined couple exist in different rhythms, with Malcolm exuberantly (and obnoxiously) extolling the delights of premiering his first film as a writer and director, which pushes him to the cusp of newfound power and prestige, while Marie appears sullen, bored and utterly over Malcolm and his prickly, delicate ego that repeatedly puts strain on the pair’s relationship, often failing to acknowledge Marie’s support. However, this constant back-and-forth does come at a cost, as both characters can come across as somewhat unlikable through their many imperfections being blatantly illustrated on-screen at all times.
One of the few Netflix Originals shot to be on 35mm, the cinematography by Marcell Rév is elegant and sheeny. Yet, what makes these visuals even more impressive is that for the entirety of the runtime, the titular couple never once leave the house, as previously mentioned, merely strolling to different rooms or into the garden with a cigarette in hand as their bickering continues. Some may think this sounds dull, but I feel this approach ensnares much of the tension between the two characters and the heavy air that flows through their temporary, luxurious home. Furthermore, with both characters being chic and sophisticated, as well as returning from the premiere in their formal evening wear, there is a suave feel to the visuals of Malcolm & Marie, making the film seem like a romance from the 1930s, with tight camerawork to intensify the drama.
Likewise, the film’s original score, helmed by British musician Labrinth, reunited with Sam Levinson after composing much of the score for Euphoria, retains a similar tone to that of a 1930s drama, with the delicate, jazzy score meshing flawlessly with cleverly selected needle drops. Famed songs, like I Forgot to Be Your Lover and Get Rid of Him, are also baked into the runtime, doing much of the talking when the characters aren’t.
Interestingly, because Malcolm & Marie was produced during the COVID-19 pandemic, none of the cast or crew associated with the film received any kind of payment or entered into any agreement with the depiction of tobacco products, which is certainly admirable given the current state of cinema, where many films are greenlit purely for the sake of profit.
In summary, due to its entire runtime taking place in one location with a heavy reliance on dialogue, Malcolm & Marie will likely be a divisive flick that won’t please everyone. But, for those it will, I feel it’s more than entertaining, even if the film isn’t as layered or as tightly-knit as it thinks it is. Rating: 7/10.
Joe Baker - Film Reviews 