the intern movie analysis

But in The Intern, Jules has a stay-at-home husband and an adorable daughter in addition to a stimulating career. Given the vacuity of the script, it must be admitted that Hathaway achieves something of a triumph. In it, Hathaway’s company wanted to infuse old-school wisdom into their budding internet business.

At this crossroads, Ben arrives to help Jules face these problems—and the character of Ben, and the illusions that Meyers creates him with, are the irresistible aspects of the fantasy that Meyers is selling. In the end, an overdose of blandness sinks this middling star vehicle. We rely on advertising to help fund our award-winning journalism.

That pessimism is of vast philosophical value if your chosen field is artistic, but no matter what your field is this pessimism will also cost you greatly in the practical, interpersonal, business side of whatever you’re doing—and, if what you do is business, you’re on an upward flight toward an Icarus-like disaster. Hathaway plays Jules, founder-in-chief of a booming fashion startup called About the Fit, and she is essentially both main characters from The Devil Wears Prada in one off-the-rack ensemble. © 2020 The Hollywood Reporter Stephen Farber Jules, praising Ben in the presence of three scruffy young male colleagues, muses—“How in one generation have men gone from guys like Jack Nicholson and Harrison Ford to ...”—as she gazes ruefully at the younger men’s disheveled tenue.

She’s imbued with Miranda Priestly’s ruthless drive, if not quite her gorgon-ish way with a petrifying quip. On the plus side, the movie benefits from the casting of Robert De Niro and especially Anne Hathaway. Director-screenwriter: Nancy Meyers

I loved the idea for the new Anne Hathaway and Robert De Niro movie The Intern. Today and tomorrow, in its Vittorio De Sica retrospective, Film Forum will be screening “Miracle in Milan,” from 1951, in which Italy’s crises of employment and housing are portrayed in a sentimental comedy about an orphan who makes his way to a shanty town on the outskirts of the city.

Admit it, the movie says—you like to shop, to shop online, to shop online even if you can’t really afford it, and when you do buy things online you expect things to be done right, and you notice the small details. The film is set in 2015, on a planet that sometimes even resembles Earth. In The Intern, Hathaway’s Jules doesn’t really have anyone trying to challenge or undermine her, and that means drama often is shortchanged.

Hathaway, in her businessgal-next-door mode, can breeze her way through scripts of this species and leave you feeling everything objectionable has been ironed out, or shoved deftly under a well-placed throw cushion. He was married to the same woman for forty-six years, until her death, and was, he says, blissfully happy with her. One of its strengths was that Keaton played a more flawed character than the talented and vibrant Jules.

Fantasy has a way of casting a lurid light on unbearable realities. Fidelity, devotion, discretion, a sense of tacit virtue, unyielding principle, and conspicuous reserve—Ben is the apotheosis of conventional liberal morality, a firm grid of values that he applies to himself without daring to impose on others.

They even gratefully agree to share burial plots, which among all of this film’s cosily weird moments is perhaps the weirdest.

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Jules will have to get used to the idea of looking and even acting like one of the suits; and that, in Meyers’s view, is a crucial kind of progress.

When such a character appears in the person of Linda Lavin, she comes across as some kind of gorgon and sends him fleeing in horror.

Or at least not with her.

In that picture, Diane Keaton was a high-flying executive who's forced to re-examine her priorities when she inherits a baby. Ben worked for the same company—one that compiled and manufactured telephone directories—for forty years (he was a marketing executive).

Ben willingly accepts being called old-school.

If she can’t quite succeed this time, it’s not for want of trying.

The whole movie is way too tepid to scintillate.

All rights reserved. High marks for Hathaway, but the script won't pass muster. It’s not a whole picture of an inner landscape but the details that it reproduces are uncompromisingly clear and precise. Executive producer: Celia D. Costas You’d think that Meyers, who has been in Hollywood long enough, would know better about stars of the golden seventies, whose character and styles were forged before the Age of Aquarius—and about the recklessly hedonistic fires with which they burned, and sometimes burned out. But even this stumbling block is resolved much too quickly and neatly. In that picture, Diane Keaton was … That’s where, in the movie’s view, she runs afoul of the tones and undertones of her generation.

But what Jules needs—and what Meyers provides for her—is a man who, unthreateningly, unambiguously, unselfishly bears the wisdom of that experience without its guilt, who fought the wars not as they were on the ground but as they were depicted in the press releases—or in the movies—in the pre-Aquarian movies of unequivocal public virtue. This godly father figure has much to teach her before she can become truly settled in her life and work.

The happy ending, or new beginning, looming just beyond the actual end of the movie would be Jules’s I.P.O. They are firm neither in principle nor in self-definition, curious and tolerant and heuristically malleable but lacking a clear identity that allows them to take decisive action at all.

© 2020 Condé Nast. They seem untested by any wars, both literal and metaphorical.

He offers no wisdom but is filled with it and is waiting to be tapped.

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