I’m still ambivalent about a The Last 5 Years1 film, largely because its concept has always seemed so tied to live theatre. Mind you, I don’t mind adaptation. It happens all the time. Filmmakers adjust stories to better fit the new medium and I totally think they should.
That said, the central conceit of The Last 5 Years–that Cathy is moving backwards through the relationship as Jamie moves forward–feels both essential to the material and all wrong for film. In all honestly, while there are a lot of songs I love in the show, I think the reason you sit through those songs all at once is the time juggling. It’s a device that engages your mind in a different way than a linear narrative, and by around the midway point, starts encouraging you to try fitting songs back together internally. The intellectual exercise of figuring out who is when keeps your brain working to put together what is, on its face, a fairly standard relationship narrative.
And, in a theatrical setting, no one really balks at just having two people performing a series of musical monologues. We’re used to folks getting up on a stage and doing just that. It’s the buy in. We don’t need anything cinematic. And, again, that intimacy seems kind of crucial to what this particular story is trying to accomplish. As, effectively, an elaborate he said / she said story, forcing the audience to lock in on whomever is currently doing the saying is important. It’s not a tug of war if you aren’t being yanked from deep within one person’s perspective to deep within another’s. Film tends to want to be far more immersive with its environments, and rightly so.
So, yeah. Given that the two things that I think make The Last 5 Years, you know, The Last 5 Years are both elements which I think don’t work especially well in cinema, I’ve been apprehensively curious about how things are going to work in this new film.
The first clip from the film feels a bit like my concerns are at least reasonably valid2:
So, in an effort to help things move, to give the world of the film that immersive environmental element I was talking about above, we have our lead characters in a car. We get wind, we get scenery, we get all that wild, fun energy of being out on the road with the person who gets you going, which of course leads to pulling off said road in order to get going with said person.
But because Cathy has to keep singing the whole time, the scene plays really awkwardly for me. There’s no real musical break to let Anna Kendrick fully connect with Jeremy Jordan. She manages to sneak in one, very quick kiss, but the rest of the scene, which is attempting to build to some spontaneous roadside nookie, keeps fighting with the need for Kendrick to keep singing. I count three or four different spots where it’s clear that the actors’ instincts (which I think are spot on) are to be kissing, but: Must. Keep. Singing.
So instead we have Jordan going to town while Kendrick sings about how into it all she is without being able to actually be into it. It’s kind of a perfect example of the tension between the needs of the filmmakers and the needs of the show they’re adapting.
Maybe this is just a particularly off example of the rest of the film released because “look, we made it full of sexy stuff!” or something. Still, it’s not doing much to reduce my ambivalence.
1. I thought for half a second about going back and forth between 5 and Five in the titles to distinguish film from stage show, but it just became confusing, not least of all because, while MTI lists the title with Five-the-word, the poster just about everyone associates with the show uses 5-the-number, and I’m done with the headache, so this is what you get.↩