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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
If you’ve seen photographs and video recordings of actors Oscar Isaac and Jessia Chastain around on the Internet, there is a reason. This season, they star in HBO’s drama television series, Scenes of a Marriage, as husband-and-wife characters. The show is an English-language remake of Ingmar Berman’s 1973 Swedish miniseries that goes by the same title. This new version is developed and directed by Israeli filmmaker Hagai Levi, with the premiere episode’s teleplay co-written by himself and playwright Amy Herzog.
Here is WarnerMedia’s description of the show:
A captivating re-examination of the dilemmas probed by the original, the five-episode limited series explores love, hatred, desire, monogamy, marriage, and divorce through the lens of a contemporary American couple. Mira (Jessica Chastain) is a confident, ambitious tech executive left unfulfilled by her marriage, and Jonathan (Oscar Isaac) is a cerebral and accommodating philosophy professor desperate to keep their relationship intact. Throughout, SCENES FROM A MARRIAGE mines the full complexity of Jonathan and Mira as individuals who ultimately know their marriage isn’t being torn apart by any one event or flaw, resulting in a radically honest series that allows the audience to eavesdrop on private conversations between two people torn between feelings of hate and love.
In this review, I will be discussing the first episode, titled “Scene 1: Innocence and Panic”. There will be spoilers to follow, as the title of this article suggests. Please read ahead at your own discretion.
Plot Summary
In “Scene 1: Innocence and Panic”, Jonathan and Mira are interviewed by a young woman named Danielle (Sunita Mani) who is putting together a thesis project. She asks them to define themselves — “the elements that constitute your self-definition” — as well as the success(es) of their marriage. Jonathan is currently a 41-year-old psychology professor with asthma and Democratic political viewpoints. Mira had gone through multiple abusive relationships along with a job she didn’t care all that much about when they met in college. (Additionally, he had already been engaged at that time.) She is now 39-turning-40. He perceives their marriage as “a platform” for human growth and development. Meanwhile, she believes there should be an equilibrium wherein “anything can hurt you”.
Next, Jonathan and Mira have dinner at their home, with friends Peter (Corey Stoll) and Kate (Nicole Beharie) over. Here, they discuss this couple’s own dynamic. This has resulted in an open marriage that happens to have its own difficulties “so Peter could justify his cheating”. They make a point that the woman’s satisfaction is “the crucial element in determining the long-term stability of the marriage”. Peter believes there is a “force” or Eros that is beyond human will. Meanwhile, Jonathan believes desires need to be surrendered rather than conquered.
In bed, Mira reveals to her husband that she is pregnant because she failed to take birth control while on a family trip. They talk it over, with Jonathan saying it may have been God’s will. In the end, they decide to keep the child. The final scene has the married couple in an examination room, nervous during their appointment.
Shirley Rumierk stars as Dr. Ullman, while Sophia Kopera also makes an appearance as Jonathan and Mira’s daughter, Ava.
Discussion
I do not often watch filmed narratives in which two or more parties share conversations. Richard Linklater’s Before trilogy, the Euphoria holiday special, and Malcolm and Marie introduced me to this special genre of storytelling. This first episode of Levi’s miniseries is well-crafted. Casting director Douglas Aibel has brought forth many great talented actors. In addition, Andrij Parekh (Watchmen) serves as the director of photography. Kevin Thompson and Miyako Bellizzi design the production and costumes, respectively. Yael Hersonski is the series editor, while Evgueni Galperine and Sacha Galperine act as the music composers.
Levi and Herzog’s writing is worthy of merit. I love Jonathan’s critique of (U.S.) American marriages. His view is that “…Western culture, consumer culture has very purposefully created these completely irrational expectations that marriage must — at all times — be based on passion, on sex, on relentless emotional intensity when it’s so obvious that these things stem from novelties, so the whole concept’s a complete fallacy”. He is very much critical of the fact that the American’s notion(s) of marriage is a product of the myriad “self-help books, … app[lication]s, TV shows”, other media, etc. being capitalized for profit.
The writers’ teleplay sets the series into stone in such a way that everything plays out as just a performance. This first episode doesn’t have the typical “opening credits” sequences that most series have. It just cuts straight to the chase.
Performances and Character Developments
Perhaps, Jonathan and Mira are not ready to properly start a family together. I do notice a few things about Isaac’s character, in particular. Despite having to use an aspirator/inhaler for his asthma, he does not want his wife to see him as vulnerable. We see him organize the items atop their bathroom counter so that everything is neat and in place. When he gets his wife a Diet Pepsi during their doctor’s appointment, he tries to find a cup instead of immediately allowing her to drink straight from the can. He ends up with a urine sample cup in his hand; these small details are good enough to shape Jonathan as a character. Their reluctance and unpreparedness to dive into this new realm are interesting to see, consequently demonstrating the fears and apprehensions that many married couples face.
Interestingly enough, I notice Mira’s use of referring to their unborn child as “it” rather than “he” or “she”. Earlier in their interview with Danielle, they reported their pronouns as “he/him/his” and “she/her/hers”. This could indicate that they are, indeed, Democratic and their decision to keep or get rid of the child presents their pro-choice type of mindset.
It is also interesting that the writers develop their supporting characters, Peter and Kate. The former doesn’t have it all figured out. On the other hand, Kate has some sensitivities that need tending to. She even goes so far as to drunkenly kiss Mira in bed.
Final Thoughts
“Scene 1” provides a wide lens into average American marriages. What makes it beautiful is not just the visual scenery and appeal to the ears, but more so the way Levi writes the story. The main characters’ marriage is something calm and collected; the supporting couple’s marriage deals with a degree of aggression and mental anguish. Marriage, by this first episode’s definition, emanates from the hardships and transactions between solely two parties.
Scenes from a Marriage is on HBO!
Have you seen this first episode yet? If you have, what are your thoughts on it? Let us know! For more drama and television-related news and reviews, follow The Cinema Spot on Facebook, Twitter, and Instagram!
Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
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