50/50

There is a youthful abandon and rigor in Levine’s approach to ’50/50’, simple in its execution yet full of bravado in the chaos he lets free on-screen. Mortality and serious illness aren’t treated with reverence or respect, but not disrespect either. Adam’s fight is just what it is - a fact of life he has to deal with, and while this makes for some gut-wrenching moments, it also celebrates the insanity and humour inherent in such a fight. At times, the film skirts the line of political correctness, but it does so in such a matter-of-fact tone that it never offends. Will Reisner’s screenplay is brimming with terrific observational and situational comedy, milked perfectly by Levine and his cast.

The heart of the film lies in the relationship between Adam and Kyle, the latter encouraging the former to loosen the grip on his life before he drives himself mad. Gordon-Levitt and Rogan are a magical combination, both at the top of their games. Gordon-Levitt is one of the most fascinating actors of his generation, and Adam is yet another transformation for him. The character is far from the suave and charismatic performances we’re used to from him, instead fumbling and painfully normal. There is an obsessive neurotic pathetic quality to him, at wonderful odds with Rogan’s lovably oafish abandon. While mostly there for comic effect, Rogan occasionally has a chance to show some of his dramatic acting chops, often with great restraint and subtlety. Sitting beside their bromance is Alex’s newly developing friendship with Katherine, another impressive performance from Anna Kendrick. Both Alex and Katherine are swimming in uncharted waters, and begin to rely on each other to deal with Alex’s confronting mortality.

The supportive cast are just as exciting. Bryce Dallas Howard is perfect as the annoyingly perfect Rachael - her presence grating every time she appears, especially when pitted against her antagonist Kyle. Almost stealing every scene she appears is Angelica Huston as Adam’s overbearing mother Diane, an absolutely wonderful and detailed performance where this truly great actor switches instantly from hysterically funny to heartbreaking.

It’s that switch that makes ’50/50’ such a fulfilling and joyous experience to watch. In a similar vein to Marc Webb’s ‘(500) Days of Summer’ (2009), it’s a fearless film in the face of material that, at first glance, doesn’t seem that appropriate for a laugh. These are ordinary people facing extraordinary circumstances, and devoid of any surprising and unrealistic turns of fate or luck, we see something we can relate to and understand. We put ourselves in Adam’s shoes, and as much as that makes us cry with him, it also lets us wet our pants laughing with him. This is a genuine film, a perfect example of what makes American independent cinema so exciting, and the definition of what a great comedy should be.

’50/50’ is only on a limited release, so check in your city for where it is showing. In Melbourne, it will have an exclusive season at Cinema Nova in Carlton.