Beats the odds

Rating: 9/10 (21 October 2011)

Cancer sucks. There is no denying it. And, as such, the prospect of a mainstream 'comedy' revolving around a young man who contracts cancer would appear a dubious sell at best, whether for fear of it being melancholic or flooded with saccharine "laughter is the best medicine" tripe (interestingly, it appears the subject and blended tones have become somewhat of a trend of late, as director Ian Fitzgibbon's equally fantastic Death of a Superhero illustrates). Nonetheless, co-star Seth Rogen's proposed (and rejected) tagline for the film accurately and succinctly conveys the film's approach to its subject matter: "F*ck Cancer". This is not to suggest that the film gears wholeheartedly towards Rogen's usual ribald humour (though there is more than enough to keep the film gleefully enjoyable), but rather its refreshingly straight-shooting approach to a universally dreaded illness that has already been rendered redundant through a succession of banal, pseudo-profound Hollywood weepies. Conversely, director Jonathan Levine and writer (adapting his own autobiographical experiences with cancer) Will Reiser opt for an honest, human, tasteful (yes, even that), and necessarily funny mediation, making 50/50 not only on the effects of cancer on those suffering it but how those close to them find ways to manoeuvre meaningful relationships around it.
The autobiographical elements in Reiser's screenplay are what truly sell the film, as the film offers countless moments too strange not to be real, and come across as just downplayed and natural enough to provide all the hilarity, tragedy and poignancy that grandiose Hollywood set pieces could never approach (wait for a fleeting moment when Gordon-Levitt's Adam discovers a tenaciously annotated book in Rogen's apartment for a joyfully distraught emotional meltdown). 50/50 functions as one of the best 'tearjerkers' in years, because it is clearly more interested in making audiences laugh, thereby making the sadness all the more genuine and affecting in contrast. Equally, it feels all the more inspiring an optimistic to have a cancer film with a positive bent be based on true experience, as it serves to sell the film's optimistic approach as ultimately more credible than mere Hollywood contrivance – even a romantic subplot comes across as tentative and offbeat enough to function admirably within the scope of the film.
However, the true joy is watching 50/50 explore all of the figurative 'elephant in the room' circumstances revolving around cancer that most other films would either lose sight of or balk at. Pivotal concerns such as the infuriating dismissal of constantly being told "Everything's going to be fine", how friends and family being alternatively overbearing or absent can lead to an overall sense of alienation (watch, too, for the film's skillful editing and cinematography echoing these contrasts) and whether a bald head could offer the silver lining of a sympathy one night stand are all addressed frankly and honestly, and feel all the more effective for it. If there is a single concern to be made, it is that the film's pacing may feel ever so slightly off, giving less of a sense of a steadily mounting sense of urgency as Adam's condition worsens, but this too could be attributed to the disjointed sense of impending morality of cancer (as Adam suggests, everyone is dying, some simply faster than others), and thus comes across as a minuscule concern at most.
Joseph Gordon-Levitt only furthers his reputation as one of the most interesting contemporary stars, by cementing Adam as a human first and a cancer patient second. Blending a clipped, controlled approach to emotions with steady, fumbling attempts to reach out (as well as a laudable foregrounding of Adam's less than redeemable features, both before and after his diagnosis), Gordon-Levitt is as charming and hilarious as he is heartbreaking, emerging as one of the most compelling protagonists of the year. Equally, while his presence may have largely functioned to help greenlight and publicize the film, Seth Rogen channels his standard brand of bawdy humour through a far more sympathetic lens, as most of his character's quips (telling Adam "C'mon, let's go get laid" on the night before a life and death operation) come across as defense mechanisms preventing him from going to pieces. The two share an easy chemistry, and their buddy act makes for a truly enjoyable spectacle.
However, Anna Kendrick effortlessly matches (if not surpasses) them with a stellar turn as Adam's awkward, over earnest young therapist. Kendrick's unique charm and odd, irreverent portrayal of pathos mark her character as undeniably lovable and Kendrick herself as one of the most gifted rising talents in the industry. Bryce Dallas Howard emerges less favourably, being unfortunately typecast as Adam's neglectful girlfriend, though it is admirable that the script and Howard herself work hard to ingrain the character with some small vestiges of truth and balance, and Howard delivers a strong performance nonetheless. Finally, Angelica Huston steals scenes with remarkable aplomb as Adam's frantic, overprotective mother, and Philip Baker Hall and Matt Frewer make a delightful double act as Adam's cantankerous but good spirited chemotherapy buddies.
50/50 may not be an out-and-out comedy or tragedy, but it is certainly one of the most hilarious yet upsetting films of the year. It may not be a 'feel-good' film, but audiences will inevitably leave feeling fantastic. And it may not even be the singular most definitive cinematic treatment of cancer, but there is no question that it is certainly one of the most fresh, enjoyable and human mediations on the subject.
-9/10