Late into its third act, “Marriage Story” arrives at an unexpected delight: Adam Driver rises from a restaurant booth, casually sidles up to a waiting microphone, and begins to sing — quite well — one of the greatest musical theater solos written for the male voice.
The rousing final number in “Company,” Stephen Sondheim’s blistering critique of traditional relationship structures, “Being Alive” is the moment when avowed bachelor Bobby finally embraces (via chill-inducing baritone) his desire to love and be loved. Undoubtedly one of our greatest young actors working today, Driver’s voice is resonant and assured, but anyone who knows their musical theater is likely to find his low-energy rendition of the song underwhelming. Still, at the New York Film Festival screening this critic attended, the audience erupted into applause midway through the movie, as if Driver had sung it live in front of them.
This year, three major film...
The rousing final number in “Company,” Stephen Sondheim’s blistering critique of traditional relationship structures, “Being Alive” is the moment when avowed bachelor Bobby finally embraces (via chill-inducing baritone) his desire to love and be loved. Undoubtedly one of our greatest young actors working today, Driver’s voice is resonant and assured, but anyone who knows their musical theater is likely to find his low-energy rendition of the song underwhelming. Still, at the New York Film Festival screening this critic attended, the audience erupted into applause midway through the movie, as if Driver had sung it live in front of them.
This year, three major film...
- 11/9/2019
- by Jude Dry
- Indiewire
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