REVIEW – “Can You Ever Forgive Me?” Embraces the Joys of Writing, with One Strong Voice in Tow

by Joe Hammerschmidt

It appears to be a common cinematic science, that when a performer takes on mainstream films that appear to have hilarity written on them, but don’t translate fully to a finished film, their stock lowers, and they grow painfully uncomfortable to review on screen. Melissa McCarthy, who started in the field of TV dramedies, has proven she could only go so far as to supplement a few poorly advised comedy films. This past year, having had one casual clunker with Life of the Party, and a stinking junker with The Happytime Murders, my expectations were rather abnormally high for her last film of 2018. I wanted to have a good time, I wanted to laugh, but I also wanted to experience a succinct dose of healing melancholy. And in the first five minutes of Marielle Heller’s Can You Ever Forgive Me?, a big smile began to rise up across, and managed to stay there til the very last moment. Shocking, yes, but no less rewarding.

Set in New York at the after-turn of a turbulent decade, mid autumn or so 1991, McCarthy envelops herself completely into the guise of Lee Israel, a struggling copywriter just trying to survive in between writing noted biographies, authorized or otherwise. Six or so years had passed since her last legitimate best-seller, late on rent, her agent isn’t trying anymore, and she’s failing to nurse a sick cat back to health. In her greatest time of desperation, she submits to what a select few of us would likely do in the same position, commit to a life of crime.

The gimmick, in her eyes, is forging one on one correspondence letters from deceased authors, actors,
and dignitaries, at least 400 in total before she was eventually caught, and while reaping the profits with an accidental gay bestie, the reservedly
flamboyant Jack Hock (Richard E. Grant). While the feds are persistently hot on her tail, Miss Israel’s sense of desperation compounds the desire she holds to rehabilitate her sniveling, overtly negative personality, to try and be a better person, despite the whole petty crime scenario she’s
stacked up against.

Heller, who made a stunning case for women’s empowerment with her prior freshman debut, 2015’s The Diary of a Teenage Girl, returns to direct a near-equal tale, with McCarthy as a staunch anti-hero, having written about legendary women herself. But
of course, Israel was never a strong enough individual herself past her heyday, and the actress accurately portraying her connects with that instantly. She is not a kind person, having pushed aside every relationship in her life, committing to a few terrible habits, particularly a constant alcoholism danger. But seeking the goodness in life again can be both refreshing, and also painfully challenging, if those bad habits are difficult to break. These are the likeliest merits of a strong-willed character who is aiming to improve. Casual moviegoers may not sense that so easily, but I know I did, and like many a great antihero, you’d want them to succeed. Yes, one may have to get caught in the act to get the message, especially when past lovers can break them down.

This film, as I was first viewing it, had the makings of an absolute Oscar lock. It captures New York so effervescently, Nicole Holofcener (Enough Said) and Jeff Whitty’s (Avenue Q) taking two distinct spins on the same story from Israel’s own accounts of exactly what happened and merging them to create a ride that’s as light on its feet as it is comfortably bittersweet. Brandon Trost (The Disaster Artist) pulling in the warm grittiness of a city in reconstruction; Anne McCabe (Top Five) cutting between multiple emotional wavelengths; and Arjun Bashun (Life of Pi) creating a literal time capsule with functional decade-appropriate attire.

And then there’s of course, the supporting performers. Jane Curtin, whom we don’t see too often on screen these days, puts a rocky spin on the situation as Israel’s agent; Christian Navarro (13 Reasons Why) as a flirty one night stand for dear Jack; Dolly Wells portraying an almost-partner, one who gives Lee another chance at an affirming relationship, all three simply golden. But of course, Grant steals the show, in every scene he’s in. Seriously, I’m not kidding. In a career that’s granted him plenty of unique characters, all of which he dives into with a special charm, Jack Hock is no different, and I may revolt if it doesn’t secure him, at long last, his first Oscar nomination, joining McCarthy in next January’s performing class.

To sum this one up is a bit of a challenge. McCarthy fans should give Can You Ever Forgive Me? a chance, just like the typical moviegoer who probably wouldn’t take on such a heartfelt dramedy, especially during the prestige season. This is easily one of my favorite films this year; Hilarious when it can be, enthralling when it needs to, not too overly dramatic or stuffy. It’s like a warm mug of cocoa, reminding us how lucky one could be to survive tougher times, and live to tell the tale. Lee Israel simply is one of those lucky people, even if she may never be forgiven for the crimes she committed. Her story is still told on screen by people who do care, with the hope that audiences, and Academy voters, will extend that appreciation. With films like these, shouldn’t that be enough? (A-)

Can You Ever Forgive Me? opens in Seattle, Bellevue and Tacoma this weekend; wide expansion in the coming weeks; rated R for language including some sexual references, and brief drug use; 107 minutes.