The Five-Year Engagement (2012)
★★★ / ★★★★
Tom (Jason Segel) felt it was time for him and his girlfriend, Violet (Emily Blunt), to get married and settle down so he proposed to her exactly a year since they met during a New Year’s Eve party in San Francisco. Violet was happy and excited to accept the proposal but this was before she found out that she’d been accepted to attend the University of Michigan to further her studies in social psychology. Although Tom agreed to uproot his career as a sous-chef in the West Coast and move with Violet to Michigan, he became increasingly unhappy upon realizing that his life, personal and professional, had grown stagnant. “The Five-Year Engagement,” based on the screenplay by Jason Segel and Nicholas Stoller, had good bits of comedy but was at its prime when it took an unblinking look at a relationship, once healthy and mutualistic, being swarmed by jealousy, guilt, and resentment as one’s success became hand-in-hand with the other’s failure. Casting Segel and Blunt as a couple was both surprising and effective. One rather ordinary-looking and the other quite stunning, the actors were given the responsibility to build and continually work on their chemistry in order to create a believable couple whom we cared about as a duo as well as individuals. Over time, we came understand what Tom saw in Violet and, perhaps more importantly, what Violet saw in Tom. We’ve all come across couples and wondered what one was doing with the other given that we happen to believe that one was not quite on the “same level” of attractiveness as the other. I enjoyed that the writing was aware enough to acknowledge that fact without being so blunt about it. Furthermore, in order to balance negative emotions like fears and insecurities, there was also a lot of sweetness and tenderness between Tom and Violet. Interestingly enough, however, the supporting actors’ ability to steal the spotlight benefited and hurt the the film. Chris Pratt as Tom’s best friend and Alison Brie as Violet’s sister had hilarious lines of dialogue that each time they were on screen, I was excited by the unpredictability of their comic performances. Pratt and Brie commanded such presence that at times I wished the picture was about them. With a running time of about two hours, the bulk of Tom and Violet’s relationship, specifically after they moved to Michigan, contained a lot of sadness which eventually began to feel like a trial. The situations and feelings that were explored were absolutely necessary to story but the pacing was occasionally slow-moving and the various attempts at humor by the central couple were neither consistently funny nor as exciting as the couple serving as foils. Instead of the subplot involving Violet and her professor, arguably the weakest and most predictable part of the film, I would like to have seen the material explore the pressures that Tom and Violet felt from their parents, how the latter kept pushing them to just get married already. A lot of it was played for laughs but when it took a more serious approach, it was both genuine and challenging. Directed by Nicholas Stoller, it was apparent that the struggle between making a strong artistic statement about modern couples and achieving commercial success hindered “The Five-Year Engagement” from reaching its true potential. For what it is, however, it was still a good show.