By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
Our heroine here is a wispy blonde named Betty (Renée Zellweger) who deftly pours coffee at the Tip Top Cafe, somewhere in the sticks of Kansas. Since Betty is obsessed with her own version of Oz--in this case, a cheesy L.A. soap opera called A Reason to Love--she's in dire need of exploring her own "Dorothy" side. In her mind she's already off to meet the wizard of love, the show's Dr. David Ravell, a sexy heartthrob played by a mediocre actor called George McCord (Greg Kinnear). Betty's world, tiresome and hopelessly lacking in inspiration, is aptly summed up by her birthday "celebration," which consists of a cupcake with a candle in it, a photo shoot with a cardboard cutout of Dr. Ravell (purchased by a coworker "on the god-damned Internet, where else?"), a blow-off from her best friend Sue Ann (Kathleen Wilhoite), and thinly veiled insults from her husband's secretary, Joyce (Sheila Kelley), whom her husband's been sloppily schtupping. Ironically, her wretched spouse, Del (LaBute regular Aaron Eckhart) summons the tornado that ends up whisking Betty away. A sleazy car salesman (and typically facile portrait of the American white male), Del is the antithesis of his beleaguered wife's television hero. He explains that "these actors are mainly models...which are mainly faggots...and the rest are assholes." Poignantly, he punctuates his decree by munching Betty's cupcake...uh, literally.
But the storm is already on its way, in the form of Charlie (Morgan Freeman) and Wesley (Chris Rock), two outsiders who have blown into town with a mysterious motive and attitude to burn. Clearly a master and ward, Charlie soon approaches Del with a stealthy resolve and a score to settle, but Wesley, a seething definition of the word "uppity," is much less patient, catalyzing one of the two gratuitously ugly segments that bookend the movie. Quick as a flash, effeminate investigative reporter Roy (Crispin Glover) and domineering Sheriff Ballard (Pruitt Taylor Vince) are on the case, but Betty has already blocked the grisly experience from her memory and swiped one of her husband's cars to head west. Her mission: to find her true love at the mythical Loma Vista Hospital in Los Angeles.
Because there's a clever hook in nearly every scene, it would spoil far too much to reveal more of the plot, except to suggest that the writers were clearly influenced by both Thelma and Louise and The King of Comedy, the former for feminist empowerment, the latter for delusional play-acting. (There's quite a bit of Soapdish in here as well.) But those movies only hint at the charm of this quirky and astute adventure, which actually bears a closer resemblance, in tone and gratification, to Terry Gilliam's The Fisher King. LaBute, like Gilliam, has a much more balanced approach to our national ennui and insanity than Ridley Scott (Thelma) or Lawrence Kasdan (Grand Canyon). While The Fisher King wore its mythic subtext on its sleeve, Nurse Betty couches its archetypes in everyday conventions, which are likely to render it quite the accessible crowd-pleaser.
Another reason Nurse Betty is so much more satisfying than In the Company of Men or Your Friends and Neighbors is that it lacks LaBute's trademark queasy, almost confessional tone. Stewing in their own juices (women are "meat and gristle and hatred, just simmering," and love is, yawn, "a disease"), those films were provocative without being productive, oozing with cheap, rushed infatuation on one hand, playing cutesy and mean on the other. Men at least wrapped up with an interesting sense of agony, but Friends was mostly a cranky puppet show, and it made LaBute seem about as generous and sexy as Woody Allen. Here, enhanced by some perfectly focused set design from Charles Breen, the characters are fleshed out as people, rather than just warring ideologies. When Charlie and Wesley are stalled on the road, the younger man shouts, "I will shoot that bitch like she scratched my car!" but this time the misogyny seems like a scar on the soul, not a festival of loathing.
If LaBute has a second gift, it's selecting and directing fine actors, and even Eckhart avoids merely punching the clock. Rock is extremely funny, ladling his venom on whomever is available, calling Freeman "Bojangles" and (in the movie's most implausible scene), spewing his adolescent theories of murder all over Betty's saltine-cracker grandparents in their sitting room. As with most of the characters here, he feels like an open wound seeking a balm, which makes the curses and conflicts all the more amusing and touching. The exchanges between Zellweger and Kinnear also pack the most ticklish sort of discomfort, as she courts her dream man with unflinching sincerity, just as Freeman loses his sense of gravity to swoon for her. Ultimately, the ending of Nurse Betty is absurd, but, because along the way happiness is revealed to be a very complex arrangement, it avoids being pat. One feels the hope in the trenches when Rosa consoles Betty: "I just want you to get your fairy tale ending. At least one of us should." It may be a while before someone transcribes Nurse Betty into rhyming couplets, but the movie is brave enough to allow its intrepid heroine to jettison our national cynicism and pessimism somewhere along Route 66. That, in itself, makes it a story worth remembering.
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