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Three faces of Margaret


Let me indulge my passion for operatic drama for a moment and say that I've seen Kenneth Lonergan's "Margaret" four times now (the theatrical version and the new "extended cut" on DVD, twice each) and, while I'm watching it, I feel like I've never before seen a movie that fully recognized what human behavior is like. Sure, the focus is entirely on a certain demographic slice of human beings -- mostly middle- to upper-class, educated, New York-dwelling, Judeo-Christian-atheist white people -- but these people are alive and ragged and messy in ways few movie characters are allowed to be. (The characters, and the lives the movie depicts, are messy; the movie itself is exquisitely shaped according to its maker's vision, and that was apparent from the theatrical cut.)

Of course, all movies are stylized and all characters, whether documentary subjects or fictional, are creations (of writers, directors, actors, editors, cinematographers and others) presented to us in a frame. Yet there are dimensions to the interactions in "Margaret" -- the longing to be understood, the perverse impulse to (deliberately?) misinterpret someone else, the desire to inflict emotional sabotage on yourself or another person just because you can -- that movies so often overlook in an effort to provide clear and clean drama in which everybody announces, bluntly and correctly, exactly what they mean to say.

In other words, as Lisa Cohen might say, "Margaret" calls bullshit on most other movies.

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