Movie Scene: A Real Joy

Jesse Eisenberg’s sophomore directorial effort, ‘A Real Pain,’ comes in a just under 90 minutes – a rarity for films these days.

Yet, in that short run time, Eisenberg has crafted a funny, sweet, sentimental and at times, dark, film which will undoubtedly be part of the Oscar conversation next month.

The film concerns David (Eisenberg) an uptight, neurotic, fretful New Yorker who, along with his cousin, the upbeat and carefree Benji (Kieran Culkin) travel to Poland as an act of pilgrimage to their late grandmother’s home.

Eisenberg’s own grandmother was Polish and the film contains scenes of her childhood home.

David and Benji initially join a tour group which includes Marsha (Jennifer Grey) and Rwandan genocide survivor Elonge (Kurt Egyjawan) and traverse the Jewish story through Lublin before detouring, while uncovering hard truths.

We first meet David en route to the airport, frantically trying to reach Benji to make sure he’s there on time but Benji has actually been there for hours.

Immediate talk of Benji smuggling weed and then David’s horrific reaction sets the tone for their odd-couple dynamic and they play off each other beautifully.

Whereas Benji is kicking down emergency doors, getting lost on trains and smoking weed, David constantly frets about being late and keeping the charismatic but volatile Benji out of trouble.

Once close, the pair grew apart for reasons which are unveiled later in the film and through both their performances and Eisenberg’s tight scripting, the audience really get a feel of the pair’s obvious love for each other and the pain which led to their parting.

David resists the urge to openly scold Benji, but his angst is keenly felt as both wrestle with inner turmoil.

The film is beautifully lensed, enjoying the sights of Lublin and scenes are even reverential when they go to film at Majdanek concentration camp.

It’s simple, subtle, un-flashy stuff but holds a power which matches the film’s touching, sometimes funny tone.

It also shows how the pair deal with the suffering of their ancestors.

Performances are excellent. Eisenberg does his usual neurotic schtick and does it well,

The bit part players are also fine, but Culkin is the star; one minute berating his fellow tourists on a train for being privileged, the next he’s staging an irreverent group selfie on a war memorial.

A beautifully portrayed, subtly drawn treatise on dealing with pain, but a complete joy to watch.

Eisenberg has crafted a really great film.