DIANE-Review

Since the multiplex this weekend will be dominated by a zany superhero and the aggressive reanimated deceased, those seeking slice of life cinema filled with folks similar to your neighbors and family might have to do some searching. It may take some time unless your local “arthouse” or “indie” theatre is running this intimate character study. What makes the film extra engaging is the cast of veteran actors (including an Oscar winner) headed by the great Mary Kay Place, who has bounced from comedy to drama in her 45 years of TV and movie roles (she’ll always make me smile as I recall her as country singer Loretta Haggers on the ground-breaking TV sitcom/soap opera “Mary Hartman, Mary Hartman”). Now Ms. Place lends her considerable talents to the title role of DIANE.

The title character, when we meet her, is well into her “golden years”, but this widow appears to have very little time to herself (what rockin’ chair). Taking up a good chunk of her day is her hospital visits with cousin Donna (Deidre O’Connell) who is slowly dying of cervical cancer. On the way home, she drops by (usually with clean laundry and groceries) the squalid apartment of only son Brian (Jake Lacy), who she fears is “using” once more. He insists that it’s lingering bronchitis and resents her nagging about heading back to rehab. Diane spends most evening meals at a local bargain buffet with BFF Bobbie (Andrea Martin). That’s when they’re not dishing out free hot meals to the needy in the basement of their church. And then there’s the occasional family get together when Diane catches up with the outspoken Mary (Estelle Parsons), devoted Madge (Joyce Van Patten), sweet Dottie (Glynnis O’Connor), and irrasable chain-smoking Aunt Ina (Phyllis Somerville). Diane racks up the miles on her car as Bryan goes missing and Donna takes a turn for the worst. When Bryan does re-emerge he’s found God via AA and his new girlfriend Tally (Celia Keenan-Bolger) who badger Diane to join their (talking in tongues) church. A frustrated Diane (Brian seems to have traded addictions) begins to wonder if anyone will ever travels those twisty two-lane roads to comfort her, especially as Father Time claims more of her dear ones.

Much as with her BIG CHILL Glenn Close and last year’s THE WIFE, the title role is a much-deserved showcase for the considerable acting skills of Ms. Place. With every step, every half-lidded glance Place conveys the worn-down, but undefeated nature of this “every woman”, who drags herself forward to support others. One might consider Diane a saint, but Place shows us her all too human frailties, still ashamed of a long-ago affair (betraying a dear family member who’s also a friend), and frustrated by her son’s weaknesses (she may be more annoyed by the “sober” Bryan who pummels her with prayer). When Diane tries to numb her pain at a local watering hole even swaying to the jukebox, the stunned locals send out her family’s “rescue team”. Lacy plays against his leading man looks to give us an angry addict, in denial pushing away the only person who cares about him. But, as his mom reminds him, the selfishness doesn’t fade with the “cure”. Speaking of playing against “type”, Martin, a superb comic actress, takes a break from her usually zany persona for pal Bobbie, who lets Daine vent without judgment, even as she makes her the object of her sullen fury. And Parsons is a hilarious force of nature as Mary, a terrific sparring partner to the “no filter” Ina played with gritty compassion by Somerville.

Writer/director Kent Jones, in his first narrative feature, has crafted a haunting essay on enduring past indiscretions and the heartbreak of loss. Diane hears the ticking clock as more of her time is spent at hospitals and funerals. The film’s tone is dark, but never completely hopeless (especially the resolution of the Brian subplot). It’s ultimately a hopeful tale, as just surviving, simply putting one foot in front of the other is a way to defy the grim reaper. Taylor uses a POV of the backwoods roads and occasional highways to shift the scene settings to great effect, making us feel as though we’re right with Diane as she burns away the gas and the hours. The “honkey tonk” scene is surprising, but not as startling as a much later scene in which Diane truly indulges in danger (perhaps it’s a dream). Plus the dark wintery upstate New York backdrops heighten the chilly, often dour days. Though it may hit too “close to home” for film fans of a “certain age”, you’ll be swept away by Place’s dogged, but not down yet, DIANE.

3.5 Out of 5

DIANE opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinema