Synecdoche, New York

Copyright 2008, Sony Pictures

Usually, when I hear about a movie that must be seen more than once to be properly understood, I avoid that movie, or the person who's saying two viewings are required, completely. It's not that I don't enjoy deep thought; I do, but I also would appreciate that a movie features some interest on each viewing. If it makes me sound like a philistine, so be it: a movie shouldn't be made to be enjoyed the second time I see it only. So, be aware that I say this knowing how hypocritical I sound: if you see Synecdoche, New York (and yes, you should), you should probably see it twice.

Granted, director-writer Charlie Kaufman probably doesn't want you to enjoy this movie. There's no real enjoyment to be had, but the intellectual stimulation that comes from his ideas, the intrigue of the labyrinthine plot, the phenomenal performance by the lead, Philip Seymour Hoffman (using the less-is-more approach): all adds up to a unique viewing experience, one you have never gone through before. My guess is that when I see this film again, I won't feel the same about it, and whatever went through my head the first time around will be completely different. That, more than likely, is the kind of reaction Kaufman's looking for (if he's looking for reactions, demanding them).

Of course, one problem I have with the movie, this time around, is that the point Kaufman makes, or one of them, seems pretty obvious way before Caden Cotard (Hoffman) gets around to realizing it. The movie is both a celebration of life and a neurotic look at the threat of death. Cotard, a director of plays such as an all-young version of Death of a Salesman, receives a MacArthur Grant at the same time that his wife and daughter leave him to go to Berlin; he decides to use his grant to put on a massive show within two enormouse warehouses. The show never has an audience, except for Caden. The show has no script, except for life. The show has no direction, except for Caden and life.

No further about the plot. I couldn't do it justice. The performances all around, mostly by women (such as Dianne Wiest, Hope Davis, Catherine Keener, and Samantha Morton), are great. I can't say I could wrap my head around all of this film, because it's just not easy enough to conquer it in one viewing. I didn't love it, I didn't like all of it, but Synecdoche, New York is the kind of movie that only Charlie Kaufman could make, the kind of movie that few have the daring to stage anymore. It is a fascinating, hypnotic, challenging film to watch, but watch it you should, and watch it more than once.